Thank you, Madam Chair, and thank you to our witnesses, as well.
This has been, once again, a very informative panel. I look forward to the conversation that we're going to have today.
I wanted to begin with Mr. Rubinoff and Ms. Bator.
I think we all appreciate the somewhat cruel irony that the most successful Canadian musical in history is being shown for four productions internationally and none of those locations are in Canada. I think we appreciate that cruel, unfortunate reality that we see with such a wonderful production. I remember promising my wonderful wife, after the 2019 election, that I would take her to see Come from Away. I may have to find an alternate location. Hopefully, we can do that once again in Toronto in the somewhat near future.
I wanted to start with the capital costs. We're talking about commercial theatre and the capital costs that you must raise to begin the production before a single actor steps onto the stage—those upfront costs. I want to get your thoughts on the hesitancy, the stigma and the uncertainty that we have going forward to be able to raise those private funds in order to put the productions on in the first place.
What is the reaction you're getting? What challenge are you facing when you have that uncertainty in raising the capital?