Everyone likes repertory theater. ██████ ████ ██ ███████ ███████ █████████ █████ ████ █████ █████████ █████ █████ ██ ████████ ██████████ ████ ██ ███████ ████████ ████ █████ █████ █████ ████ ████████ ████ █████ ██████ ████ ███████ ████████ ████ ██ ████████ ██ █████ ████ ███████ ████████ ██████ ███ ██████ ███ ███████████ ████ ████████████ ████████ █████ █████████ ██ ██ ████████ ██████████ ████ ████ ████████ ██████ ██████ ██ ██████████
The author concludes that more theaters should change to repertory theater. This is based on the premise that "everyone", including actors, stagehands, and managers, likes repertory theater.
The author assumes that what stagehands, actors, and managers like is what theaters should do. But we don't know that what these groups like will necessarily be beneficial to the theater, nor do we know whether all these groups like some other form of theater equally as much as repertory. If they did, theaters wouldn't have a reason to pick repertory theater over that other form.
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In a repertory ████████ ███████ █████ ███ ████ ███ ████ ████ ███ ██████████ ████ ██ ██████████
In a repertory ████████ █████ ███ ██ ███████████ ██ ████ ████████ ███████
In a repertory ████████ ████ ██████ ███ ██████ █████ ████ █████ ██ █████ ████ ██ █████████ ██ ██████ ███ ██ ███ █████ ████ █████