So from a producer's perspective, how closely do the financial consideration influence creative decisions at an early stage?

Yeah, I mean, great question.

Hugely.

Because an important distinction to make early on, I think, is between commercial theater and subsidized theater, and they're two very distinct areas of theater, in the UK at least.

It's, it's slightly different in other countries.

But in the UK and in, in England and Wales, there are subsidized theaters which, um, broadly speaking, are theaters that rely on funding from the Arts Council and which don't need, if you like, to, to make a profit.

They need to break even what, with their Arts Council funding, but they're not there to make money necessarily.

Uh, this sparked accusations of breach of contract and damaged reputation, so it raised a really interesting question for us, which was what counts as a breach of contract in a situation like this? And is it about the exact wording or more so about the expectations that are set during the negotiations leading up to production?