This extract came from report in the 14th February   DailyTelegraph newspaper on the future of certain theatres concentrating on what is called text-based drama.

Regional theatres are failing to cater for the young, who grew up with videos, films and the internet. They are unimpressed by drama and have little knowledge of plays, it adds.

All broad statements encourage debate - this one is no different. I write from the perspective of an avid theatregoer, living in a large town with a local theatre, yet also within easy reach of London.

Primary schools actively encourage drama; classes put on plays each term and are visited by peripatetic theatre workshops. Watch an actor capture the imagination of a group of children by no more than the change of hats and voice and one cannot help but be impressed by the power of drama.

Secondary schools have a selection of texts as part of the National Curriculum, which include plays, how impressed the students are is a factor of teaching quality and initiative. If after twelve years schooling some pupils are still unenthusiastic about drama, is that any different than others being less than thrilled by sports? Providing the opportunity has been given there will always be some accepting the challenge of a subject while others decline.

Video and film mediums can be used to encourage knowledge rather than being the negative influence this phrase suggests. Kenneth Branagh take a bow for all those eyes opened to Shakespeare by his productions, along side the TV company who made those wonderful cartoon versions of these tales.

So where do Regional Theatres fit in this education structure?

Without doubt there is a two tier system of theatres under the umbrella of the term regional in the UK both receiving Arts Council funding to a greater or lesser degree. Those, which would have been Repertory Theatres, had the term still been applicable and other local theatres which, for want of a better term, I will call Municipal Theatres.

Some municipal venues already run theatre workshops in the holidays and after school. They have ties with local the local community for amateur dramatics at all levels, provide a forum for Tom Conti's travelling play and the Christmas pantomime yet also manage to host music concerts, arts displays, circus acts and film presentations. They are financed mainly by local taxes and cater to a whole community not those just with a particular interest in stage drama.

It usually takes the monetary angle of grant restrictions to persuade the less business like to be realistic about providing what their community needs, because the community will be the ones to whom the theatres look for financial backing. Overall, Municipal Theatres have the ability under good management to fulfil any of the Arts Council's requirements of a broad based cultural and entertainment facility.

The problem are the Repertory Theatres situated in London and other larger cities which before the days of government funding historically had the financial muscle to support their enterprise. It is not in dispute that these have formed vital centres of learning for the stage profession, but in doing so do not necessarily fulfil their community objectives in quite the same manner as Municipal Theatres.

However, to return to the sports analogy if it is right for the Sports Council to provide centres of excellence for football, tennis etc what is wrong with the Art's Council being able to provide centres of excellence for the stage? Designated Repertory Theatres such as Bristol Old Vic, Royal Exchange, Manchester, Almeida, London, and Nottingham Playhouse could be charged with securing the National Stage future in the same way Bisham Abbey promotes the English Football team.

For the Arts Council to treat all Regional Theatres as equal and apply the same funding criteria is folly when there are two different sets of requirements. Schools do turn out drama supporters, tomorrow's audience, to enjoy a greater variety of amusement than earlier generations. It would be a sad day if that audience were deprived of a specific entertainment, great drama, because it was thought necessary for all theatres to be all things to all men.