Upon its debut, The Ecstasy of Rita Joe ignited widespread discussion, primarily because Canadian drama was sparse and even fewer works candidly addressed issues facing American Indians. The play stirred controversy with its unflinching depiction of the plight of American Indians, living just steps from the theater. George Ryga’s work did not shy away from confrontation, delivering a general condemnation of organizations meant to serve these communities. While the play provoked unease among its predominantly white audiences, it also served as a wake-up call for many American Indians, urging them to confront pertinent issues.

George Ryga was a prolific and versatile writer, whose range extended beyond drama to encompass poetry, novels, and radio and television scripts on a variety of topics. Nevertheless, his lasting legacy is cemented in his plays. Notable works include Ballad of a Stone-Picker (1966), a novel about prairie farmers in the mid-20th century, and Nothing but a Man (1966), a play centered around Federico García Lorca. His other significant contributions are Captives of the Faceless Drummer (1971), inspired by the 1970 terrorist crisis in Quebec, Paracelsus and the Hero (1974), exploring the life of a Swiss physician-philosopher, and In the Shadow of the Vulture (1985), detailing the struggles of Mexican immigrant workers.

Ryga’s work is unified by recurring themes and techniques, as seen in socially aware plays like Indian (1962) and The Ecstasy of Rita Joe. These works highlight the struggles of the marginalized and deliver sharp criticism of social service organizations that impose conformity and condescension on those they claim to help. Ryga’s innovative approach to drama included a blend of realism and lyricism, time manipulation, and the use of music to both enhance and contrast his themes. By reviving the oral storytelling tradition in drama, he integrated ballads and music into his plays and experimented with audience interaction, as demonstrated in Grass and Wild Strawberries (1969). His seminal play, The Ecstasy of Rita Joe, not only achieved classic status but also marked the dawn of modern indigenous Canadian drama, having been translated into French and adapted as a ballet.