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    Drama is all about timing.

    That’s why, even in the midst of an incredible boom, audiences are still tuning in to the most recent productions, and they’re not just tuning in for the actors’ talent.

    This past year, there were plenty of times when the most anticipated performers were not the stars of their shows.

    There was the new-comer who was going to become the next big thing, but who also wasn’t ready for primetime.

    There were the star performers who were expected to be a hit, but were suddenly the victims of the industry’s most recent downturn.

    And there were the performers who had already been stars for a long time, but suddenly found themselves with the spotlight.

    As audiences increasingly tune in to a show or two a day, they’re also paying more attention to what is going on behind the scenes.

    “I think that’s part of the appeal,” said Stephen Coughlin, a former head of the U.K.’s Royal Shakespeare Company who runs the company’s website.

    “If you don’t pay attention, you’ll be blindsided by the changes that are happening.”

    And the changes aren’t just happening in the theater.

    The industry is being disrupted in all areas of entertainment, including film and television.

    In the U, new shows are being released every week, while shows on cable or streaming are taking up much more of the airtime.

    And the number of people tuning in every week to see a new film or TV show has more than doubled since 2007.

    As a result, the industry has experienced a decline in revenue, said John W. Schmitt, who ran the ratings for The British Theatre and runs the ratings site ScreenCrush.

    But the numbers also reflect the changing way audiences interact with the entertainment they consume.

    “You’ve got a new kind of consumer that has never been there before,” he said.

    “It’s the generation that didn’t know anything about the entertainment industry.

    They’ve seen everything before, but now they’ve seen it all.”

    While the industry is experiencing a resurgence, it’s not all good news for the theatre.

    In a bid to grow, some theatres have been cutting back on productions, which is hurting the business of smaller productions.

    In Toronto, the Ryerson Theatre was forced to cut its run of The Great British Bake Off, a popular British drama, because the ratings fell in line with what other theatres had seen, according to an employee.

    In Quebec City, the L’Enfant Plaza has had to cancel several shows, including The Lion King: The Musical, after the ratings declined in recent years, according a spokesperson for the company.

    “This is not sustainable,” said Kristin Toderian, the president of the Royal Shakespeare Association.

    “There is a significant difference in the way people view the art form.”

    The ratings of new shows have also fallen, according the New York Times.

    In addition, a number of theatres, including the Montreal Theatre and the Toronto Playhouse, have decided to end their current shows and instead create new shows.

    That has meant smaller productions like The Haunting of Hill House, which premiered in 2016, have had to cut back on their production schedule.

    It has also meant that some of the big-budget productions in recent seasons have struggled to find enough money to run.

    “That’s why there’s a lot of pressure on the smaller productions,” said Toderians spokesman Chris Larkin.

    “We are losing out on talent that we could have used.”

    A new generation of stars has taken over The Great English Baking Show, which has been playing at the Toronto and Montreal theatres since 2004.

    But as with many other new shows, the audience is aging and it’s a challenge to attract younger audiences.

    The Great Baking Company has also had to change its lineup as a result of its declining ratings.

    The new show has been touring with a cast of young women, but this year it decided to leave the U of T, instead.

    “The audience has moved on,” said The Great Great Bakers spokesperson Jodi Landon.

    The problem is that a lot is happening in other theatrooms as well.

    The Toronto Theatre is moving into a new location in the City of Toronto and is looking at a revamp of its production schedule, including a shift in what it does.

    And this summer, the company decided to cancel two shows in Toronto, including one in the U: The Bazaar of the Damned.

    In both cases, the reasons were unclear.

    The Baskin-Robbins Theatre, the Toronto’s oldest theatre, has announced plans to move its production of The Queen of Hearts from its current location to a new building in the city.

    But that may not be a good idea for the other productions, including L’enfant’s, whose production of the play has been the subject of a lawsuit. The U

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