The systemic model posits that informal social control directly reduces crime victimization and social networks indirectly reduce crime victimization through informal social control. While empirical testing of the systemic model advanced the theory, important analytical issues remain. First, social networks are inconsistently conceptualized and measured. Second, the conceptual relationship between social networks and informal social control remains unclear. This study addresses these issues by testing an alternative to the systemic model, including new constructs and hypotheses. The goal is to develop better indicators for the model and refine the theory, rethinking and deepening the existing theory about neighborhood effects on crime victimization. The data come from the 2002-2003 Seattle Neighborhoods and Crime Survey (N=2,200). Structural equation modeling (SEM), a multivariate statistical technique, was used to analyze these data. The SEM included five latent constructs (neighboring, neighborhood and non-neighborhood social networks, collective efficacy, and crime victimization) and six social structural variables (racially homogeneous neighborhood, resident tenure, household income, family disruption, male, and non-white ethnicity). One of my 9 hypotheses was supported; the remaining hypotheses were partly supported. The results support my argument that the systemic model is too simplistic, but the relationships among the variables are not exactly as I hypothesized. …

The Seattle Repertory Theatre is one of the most successful regional theatre companies in the country. This study attempts to determine the components-of its success. It concludes that the unique community acceptance and support of the Seattle Repertory Theatre is due primarily to the innovations of its Artistic Director, W. Duncan Ross, including a departure from the "permanent company" repertory theatre concept to a more flexible "nucleus company" supported by special guest artists, a shift in play selection emphasis from traditional dramatic plays to more contemporary and comedic works, and shortened .duration for each play from four to three weeks. Also examined are the growth of American Theatre, Ross's community involvement, guest directors, critical acceptance, and audience attendance.