How did Canadian playwrights use historical events to explore national identity?

Canadian playwrights have long utilized historical events as a foundation for exploring national identity, often seeking a "myth of origins" to define the Canadian experience.1

Early dramatic works, such as Charles Mair’s Tecumseh (1886) and Sarah Anne Curzon’s Laura Secord, the Heroine of 1812 (1887), drew directly upon the War of 1812 to engage with the nation's past. By the mid-20th century, playwrights like John Coulter used history to examine complex figures, such as his 1962 play Riel, which portrayed Louis Riel as a heroic leader of the Métis rebellion.1

During the 1970s, the rise of collective creation—where actors participated in scriptwriting—further deepened this exploration. Productions like 1837 (1976) and Les Canadiens (1977) were explicitly designed to address issues of locality, history, and national identity. Additionally, playwrights such as James Reaney used historical feuds, such as those depicted in his Donnelly trilogy, to probe the complexities of immigrant life and regional history in Ontario. These works collectively demonstrate how drama serves as a vital medium for interrogating the diverse and often turbulent narratives that shape Canadian society.1