Canadians recognize that we stand at a critical crossroads: we are being tested by external, aggressive forces and our Canadian identity is threatened. Amidst these challenges, the clarity of our culture and the strength of our national live performance industry matters more than ever. 

Central to the vision of a more globally competitive Canada and becoming the strongest economy in the G7 is investment in sectors that strengthen our cultural fabric and create meaningful jobs for Canadians. The performing arts represent exactly that—an industry brimming with innovation, sustainability, and cultural significance.

Few Canadian stories have captured this country’s spirit on the global stage as powerfully as Come From Away—the musical portraying how Gander, N.L., rallied together on 9/11 to welcome air travellers from around the world. It’s a tale born from our soil that showcases the best of our country’s spirit, empathy and resilience.

Yet, here’s a troubling reality: despite being conceived by a Canadian producer, written by Canadian writers, and developed at a Canadian college, when it came time to bring Come From Away to the global stage, they had no choice but to turn south to American and international producers and investors.

Why? Because our own country lacked the incentives needed to secure Canadian financial backing.

As a result, an estimated $200-million in profit has been sent to international investors instead of being reinvested into Canadian theatres, artists, communities and jobs. This is not just an economic loss—it’s a cultural surrender. And it needs to change.

One immediate solution lies in extending proven policies from the film and television sector to create a Live Performing Arts Tax Credit.

As leaders in Canada’s performing arts sector, we are advocating for a 25-per-cent tax credit for labour costs in theatre, opera, orchestras, dance, circus, and live music. Backed by unions, employers and arts organizations across the country, this is not just a policy, but a united vision for the future of our cultural economy.

Independent analysis from Nordicity confirms the compelling economic case for such investment: the tax credit would stimulate the creation of tens of thousands of high-quality Canadian jobs and inject billions of dollars into our communities. 

Every dollar invested in this industry generates an estimated $10 in economic activity, fostering innovation and regional growth—cornerstones of a globally competitive Canadian economy.

But the true value of a tax credit lies beyond economics. It’s about pride, identity, and cultural autonomy in the face of external aggressive forces. Too many Canadian artists must head to Broadway or Hollywood or Nashville to establish their careers. We need to showcase our Canadian performers internationally, not export our talent.

Canada’s live performance industry is poised for immediate growth. Our country is already home to extraordinary creative talent, world-class venues, skilled technicians and an enthusiastic audience hungry for Canadian stories and songs. Yet our performing arts sector cannot compete with jurisdictions like the United Kingdom and many American states which offer attractive tax incentives and continue to lure productions and investment away from Canada.

The success of Come From Away—the most produced show in the U.S.—underscores the urgency. Imagine if investors, empowered by the existence of a tax credit, had funded the global launch of this quintessentially Canadian show in Canada. Those profits—and the cultural pride they represent—could have strengthened the Canadian economy, provided jobs for Canadians, and reinforced our cultural voice at a crucial moment as Canadians took the production around the globe.

The time has come for Canada to own its place as a cultural leader on the world stage by implementing a Live Performing Arts Tax Credit. It is about securing Canadian jobs and telling stories in our own unique and brilliant voice. That has never been more important than it is now.

Michael Rubinoff is the originating producer of Come From Away. Anita Gaffney is the executive director of the Stratford Festival. John Lewis is director of Canadian Affairs at International Alliance of Technical and Stage Employees.

The piece was written on behalf of the Creative Industries Coalition, a national, cohesive coalition, comprised of the largest unions working in live performance, professional arts associations, and our country’s leading performing arts institutions. 

The Hill Times