HAZEL BRYANT'S “better ways” might be the oldest ways. There has got to be a means of raising money for theatre. For example, theatre could adapt the Missionary Baptist Church's ancient form of collection, called a “love offering.” The offering lets a visiting preacher know just how much the congregation liked his sermon. There is always the risk, however, that some – like the old sister known for sipping her gin – will use it to show how much they hated the preaching: The sister could have done without the visitor's going on about “backsliders rattling them cups.” As she walks around the table where the visitor's donation is being collected, she looks straight into his eyes, making sure that he sees what she does – she puts a dollar in his basket and takes twenty dollars out. The importance of such an incident is in the question that it raises: How can theatre organizations so develop their audiences, market their shows, cultivate talents, form coalitions, and raise funds that the companies will be able to sense the direct link between product and well-being? More importantly, how does theatre reflect its awareness that the organization will pay for performances – as well as for anything else – that offends the audience?