"I Don't Want That Home": Evolving Reflections of Saskatchewan's Master Narratives at Greystone Theatre in W.O. Mitchell's Royalty is Royalty and Kevin Kerr's Unity (1918).

This article examines how theatre reflects placemaking by comparing two landmark productions at the University of Saskatchewan: W.O. Mitchell's *Royalty is Royalty* (1959) and Kevin Kerr's *Unity (1918)* (2021). Both plays, set in Saskatchewan and staged to commemorate significant university milestones, engage with two foundational master narratives—the nationalism narrative, which glorifies imperialist nationalism, and the settler narrative, which idealizes Saskatchewan as a land of opportunity through hard work. While *Royalty is Royalty* challenges these narratives within their existing frameworks, ultimately upholding them, *Unity (1918)* presents alternative perspectives that decisively overturn these narratives by exposing their failures, particularly through characters who experience disconnection and unbelonging. The comparison, contextualized by archival materials and the author’s experience acting in *Unity (1918)* during the COVID-19 pandemic, reveals an evolution in the university’s cultural reflection of Saskatchewan from affirming settler-colonial identities toward critically re-evaluating them in light of contemporary realities.