I would look to an example of the Royal Shakespeare Company, which brought five or six plays into New York this year, and they did an installation at The Armory. So you might look at that as a model, where you have a venue in a big international destination; you bring an opera, a symphony, a theatre, and a music festival--you bring a handful of festivals--and you call it Canada 150. You go into an installation within a community.
You may also be part of a festival. Something like the Edinburgh Festival is a wonderful international festival, and they may have a component that hosts all these Canadian activities in their different venues, because they've got many venues in Edinburgh.
I think the other concept is to embrace technology on this concept as well. The idea of filming our productions in 3D—that technology is really taking hold, and I think that's an opportunity. It doesn't replace the theatre-going experience, but I think it tantalizes the taste buds for having that experience at some point. But I think as close as you get is that 3D experience, so there's an opportunity to film some of our artistic activities and take those out into the world as well.