ot be classified as Canadian. English-theatre, therefore, is vastly embodied by its Canadian cultural identity in the form of nationality. This can be seen in both Hedda Gabler performed at the GCTC and Shakespeares Dead & Foolius Ceasar performed at Academic Hall.Theatre companies of Canadian nationality, The Great Canadian Theatre Company (GCTC) and Company of Fools produced both Hedda Gabler and Shakespeares Dead & Foolius Ceasar respectively. This alone is enough to define both these plays as being Canadian. Both plays can be further evaluated, nonetheless, by taking a closer look at the identity of both their playwright and cast members. Firstly, individuals of Canadian nationality wrote both Shakespeares Dead & Foolius Ceasar and Hedda Gabler. Even though Henrik Ibsen, the original playwright of Hedda Gabler, was Norwegian rather than Canadian, it is still a Canadian play. Judith Thompson, who is, at the very least, a Canadian citizen, simply adapted Ibsens version of the play, whereby forming her own ideas and interpretations. Secondly, in addition to the Canadian playwrights, both productions are comprised of Canadian cast and crew members. The cast and crew of both Shakespeares Dead & Foolius Ceasar are undisputedly Canadian since many of them are past graduates from the Theatre Department at the University of Ottawa. It is harder to be positive of the Canadian identity of the cast and crew of Hedda Gabler. Nonetheless, since all of the cast members and most of the crew members have extensive theatre experience in Canada, it is safe to assume that they are either of Canadian origin or Canadian citizens. Being comprised of a cast and crew of Canadian nationality, cannot, on its own, provide English theatre in Canada with a national identity. A Canadian must first and foremost have written the play. To gain an English-Canadian identity, we must learn to identify with our nation, Canada. This is one of the main reason...
