“A powerful, thought-provoking and deeply moving piece of theatre.”—Daily Telegraph
“Theatre can’t change the world. But what it can do, when it’s as good as this, is to send us out enriched by other people’s passionate concern.”—Guardian
I have been in Palestine for two weeks and one hour now, and I still have very few words to describe what I see. I don’t know if many of the children here have ever existed without tank-shell holes in their walls. You just can’t imagine it unless you see it. And even then your experience is not at all the reality . . . [due to] the fact that I have money to buy water when the army destroys wells, and of course, the fact that I have the option of leaving. I am allowed to see the ocean.—Rachel Corrie
On March 16, 2003, Rachel Corrie, a twenty-three-year-old American, was killed by an Israeli bulldozer in the Gaza Strip as she was trying to prevent the demolition of the Palestinian homes. My Name is Rachel Corrie is a one-woman play composed from Rachel’s own journals, letters, and e-mails—creating a portrait of a messy, skinny, articulate, Salvador Dalí-loving chain-smoker (with a passion for the music of Pat Benatar), who left home and school in Olympia, Washington, “to support Palestinian non-violent resistance to Israel’s military occupation.” The piece premiered at London’s Royal Court Theatre, with an award-winning, sold-out run, before its transfer to the West End.
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