No. I think it was in reference to Come from Away. When you're talking about developing new Canadian work, and specifically a large-scale work like a musical, we are not able in a meaningful way to give the amount of investment needed for new musicals to happen in Canada.
Come from Away was developed by two Canadian artists, two Canadian writers. They shopped it around—so to speak—in Canada, asking, “Can you invest in this product? Can you invest in this story?”
It did have some investment from Sheridan College, which had a musical incubator program at the time, run by Michael Rubinoff. Sheridan gave them some workshop time.
It's just like we're doing for our national summit. We invite producers from across the country to tell them, “Here is a story that has legs, could make some money and is excellent art that ticks all of the boxes.”
Canadians didn't invest. It was actually Americans and voices from the regional theatres that incubate to Broadway who said, “Okay, come over here, and we'll invest.”
When something commercializes, when it moves from a not-for-profit model to commercial model, you need investors. The investors were almost exclusively American. This means that every time the show is produced anywhere, other than the Canadian writing team—and there were a couple of Canadian actors who were invested in it—it's Americans who are making the money.