You see this when you are out in the regions. We often see productions that are very successful in major urban centres, but when they are presented in the regions, they have a smaller cast to be more flexible, as you say. Deep down, we know very well that it's underfunding that forces the troupes to do this.
Let's go back to the issue of performance spaces. In your recommendations, you refer to performing arts presenters as essential links and partners.
That leads me to believe that this disengagement or lack of recognition on the part of the federal government toward performing arts presenters will, in the long run, result in disengagement or disinterest among your members. At some point, some may decide they're fed up with being forced to cut back and make sacrifices they never should have had to make before, and that they'd rather do something else. We see this a lot. We saw it during the pandemic as well: Technicians and actors decided to leave the profession to do something else, because it had become too difficult.
Is this also becoming a trend among performance arts presenters, who say they're going to do something else, or among performance space owners, who say they're ultimately going to do something else with their space?