Yes. It's so significant as a beacon of economic activity. One, it's bringing together people in different communities and cities across the country to experience something that you can't experience in your home or on your device.
It's such a unique art form, and it's one we need. The economic impact is so significant. We had theatres open for a couple of weeks, and if you walked around the downtown core in Toronto you saw thousands of people going into the theatres and then thousands of people going to use public transit, going to the restaurants, going to shop at retail and going to get takeout. That's really tangible.
It put money in the hands of actors and the artists. From the mental health perspective—and I know Mr. Stacey has spoken about it eloquently—that really made a difference. They were waiting for 20 months to get back on the stage, so we were supporting them in the commercial theatre through our collective bargained agreements. We pay the highest rates in the commercial theatre. That was really supportive, and it has an impact on the economy and an impact on allowing artists to live in cities that are becoming more expensive places to live.
Finally, in terms of looking at economic development, we can't take wellness out of it. People want to come back together. People want to have these unique experiences to perceive a story of hope and optimism, a story on what that means and a reflection on who we are as a community and as a people. I think that on that wellness and giving people that outlet and opportunity, we cannot negate the cost of doing that.