What used to be one-off occurrences are now coming along frequently and with growing momentum, and this is happening not just in Canada but in the country of Shakespeare’s birth. A trilogy of Shakespeare plays (Julius Caesar, Henry IV and The Tempest) directed by Phyllida Lloyd and performed by an all-female ensemble at London’s Donmar Warehouse last winter was named “one of the most important theatrical events of the past 20 years” by the Observer’s critic, Susannah Clapp. This evolution in the approach to casting Shakespeare — across ability and ethnicity as well as gender — is surely connected to the rise of contemporary feminism, and heightened awareness and action around diversity and inclusion.