This thesis is an investigation of the use of post-Newtonian physics in contemporary Canadian drama, focusing largely on John Mighton's ' The Little Years', John Krizanc's 'The Half of It', and Jason Sherman's Patience as plays that explicitly invoke "the new science" in their constructions of character, action, and audience. Following the examination of these plays, this thesis explores the implications of the unconscious usage of this model, examining Daniel MacIvor and Daniel Brooks' 'Here Lies Henry', Daniel Brooks and Guillermo Verdecchia's ' Insomnia', and Daniel MacIvor's 'The Soldier Dreams' as plays that utilise the principles of post-Newtonianism without explicit citation of the science. The conclusion of this thesis investigates the cultural work performed by the dramatic usage of "the new science", exploring the model's parallel potential for both intervention and collusion in oppressive hegemonies.