The goal of this article is to reflect on how Francophone identity is represented in three Fransaskois plays: Lorraine Archambault’s De blé d’inde et de pissenlits, André Roy’s Il était une fois Delmas, Sask… mais pas deux fois! and Joey Tremblay’s Elephant Wake. I analyze the discourses contained in these works with the help of concepts developed by scholars who, from a sociological and cultural perspective, investigate the reality of Francophones living in a minority context (Monica Heller, Normand Labrie, Joseph Yvon Thériault and François Paré) and who focus on the production and reception of Fransaskois drama while studying the strategies of inclusion and resistance contained within it (Marie-Diane Clarke, Nicole Côté, Deborah Cottreau, Louise Ladouceur, Shavaun Liss, Jane Moss, Ian C. Nelson and Nicole Nolette). After drawing a distinction between works that are primarily community-oriented and those which are more concerned with aesthetics and form, the article concludes with a defense of such occasional accommodations within the sphere of Francophone theatre in Western Canada as the use of surtitles, as this type of strategy has proven itself essential to the survival and growth of a minority art form that allows members of the Fransaskois community (whether by birth or adoption) to assert their identity on stage.