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"My Name is Rachel Corrie" - A Debate Over Why the Play is Not Opening in New York
"My Name is Rachel Corrie" - a play based on the words of the American peace activist crushed to death three years ago by an Israeli bulldozer in Gaza - is causing controversy after the New York City theater that was scheduled to run it postponed production. We host a discussion with Katharine Viner, the editor of the play in London and James Nicola and Lynn Moffat, the two top directors of the New York Theater Workshop.
We turn now to the controversy over the play "My Name is Rachel Corrie," which is based on the words of the late U.S. peace activist.
Three years ago this month Corrie died at the age of 23 after she was crushed by an Israeli military bulldozer. At the time Corrie was attempting to block the demolition of the home of a Palestinian doctor in the Gaza town of Rafah.
The play opened last year in London to rave reviews and sold out audiences. It was scheduled to come to New York and open tonight at the celebrated off-Broadway New York Theater Workshop.
But there will be no opening night.
In late February, the theater announced it was indefinitely postponing production of the play due to the current political climate.
The theater's artistic director James Nicola told the Guardian of London: "In our pre-production planning and our talking around and listening in our communities in New York, what we heard was that after Ariel Sharon's illness and the election of Hamas, we had a very edgy situation." Nicola went on to say, "We found that our plan to present a work of art would be seen as us taking a stand in a political conflict, that we didn't want to take."
But the theater has been accused of political censorship. The co-creator of the play, Alan Rickman responded by saying, "This is censorship born out of fear" and that the theater had effectively canceled the play.
Today, in a broadcast exclusive, we host a discussion between one of the creators of "My Name is Rachel Corrie" and the New York theater group that postponed the production of the play.
In London we are joined by Katharine Viner, the co-editor and co-producer of "My Name is Rachel Corrie." She is an editor at the Guardian newspaper in London. Here in our New York studio we are joined by James Nicola, the artistic director at the New York Theatre Workshop as well as the theater's managing director Lynn Moffat.
* Katharine Viner, the co-editor and co-producer of "My Name is Rachel Corrie." She is an editor at the Guardian newspaper in London.
- Read Viner's article: "A Message Crushed Again"
http://www.commondreams.org/views06/0301-22.htm
* James Nicola, artistic director at the New York Theatre Workshop.
* Lynn Moffat, managing director of the New York Theater Workshop.
LISTEN ONLINE:
http://www.democracynow.org/article.pl?sid=06/03/22/1435259
Three years ago this month Corrie died at the age of 23 after she was crushed by an Israeli military bulldozer. At the time Corrie was attempting to block the demolition of the home of a Palestinian doctor in the Gaza town of Rafah.
The play opened last year in London to rave reviews and sold out audiences. It was scheduled to come to New York and open tonight at the celebrated off-Broadway New York Theater Workshop.
But there will be no opening night.
In late February, the theater announced it was indefinitely postponing production of the play due to the current political climate.
The theater's artistic director James Nicola told the Guardian of London: "In our pre-production planning and our talking around and listening in our communities in New York, what we heard was that after Ariel Sharon's illness and the election of Hamas, we had a very edgy situation." Nicola went on to say, "We found that our plan to present a work of art would be seen as us taking a stand in a political conflict, that we didn't want to take."
But the theater has been accused of political censorship. The co-creator of the play, Alan Rickman responded by saying, "This is censorship born out of fear" and that the theater had effectively canceled the play.
Today, in a broadcast exclusive, we host a discussion between one of the creators of "My Name is Rachel Corrie" and the New York theater group that postponed the production of the play.
In London we are joined by Katharine Viner, the co-editor and co-producer of "My Name is Rachel Corrie." She is an editor at the Guardian newspaper in London. Here in our New York studio we are joined by James Nicola, the artistic director at the New York Theatre Workshop as well as the theater's managing director Lynn Moffat.
* Katharine Viner, the co-editor and co-producer of "My Name is Rachel Corrie." She is an editor at the Guardian newspaper in London.
- Read Viner's article: "A Message Crushed Again"
http://www.commondreams.org/views06/0301-22.htm
* James Nicola, artistic director at the New York Theatre Workshop.
* Lynn Moffat, managing director of the New York Theater Workshop.
LISTEN ONLINE:
http://www.democracynow.org/article.pl?sid=06/03/22/1435259
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Hi--saw this article and felt the need to respond.
Although I would probably not choose to attend the play My Name is Rachel Corrie for a number of reasons, I believe that it was wrong to cancel the NYC rendezvous of this play because it deprives people of the right to view it who wish to do so, and the producers/actors in the play of the right to be onstage here in the USA, not to mention an opportunity for people to debate and discuss a controversial subject. When I first heard/read about the cancellation of the rendezvous of My Name is Rachel Corrie, I was reminded of the cancellation of a stage production of the beautiful and famous musical, West Side Story that was to be staged at Amherst Regional High School, in Amherst, MA. The production was cancelled exactly ONE week prior to its formal rendezvous and never rescheduled. Here's what happened: A petition arguing that West Side Story presents a negative stereotype of Puerto Ricans, which was signed by some 150 people, circulated around the high school. Under pressure and duress, school officials and authorities caved in and cancelled the WSS production. Truthfully, however, the petition that went around the high school did not represent the viewpoints of the entire Latino community out in the Amherst, MA. area. In fact, the Hispanic community was very divided on the issue. The town of Amherst, MA, which is supposedly a very liberal, openminded and progressive town gave itself a PAIR of big, black eyes on that one!
All of the above having been said, I believe that the reasons for the cancellation of the NY rendezvous of My Name is Rachel Corrie and Amherst Regional High School's cancellation of their stage production of the musical West Side Story came about for the same underlying reasons: fear of controversy and discussion, and intimidation, which has been made much worse by our present administration. It is unfortunate to see theatres, schools, and other institutions of art and/or learning succumbing to this kind of fear and pressure.
Although I would probably not choose to attend the play My Name is Rachel Corrie for a number of reasons, I believe that it was wrong to cancel the NYC rendezvous of this play because it deprives people of the right to view it who wish to do so, and the producers/actors in the play of the right to be onstage here in the USA, not to mention an opportunity for people to debate and discuss a controversial subject. When I first heard/read about the cancellation of the rendezvous of My Name is Rachel Corrie, I was reminded of the cancellation of a stage production of the beautiful and famous musical, West Side Story that was to be staged at Amherst Regional High School, in Amherst, MA. The production was cancelled exactly ONE week prior to its formal rendezvous and never rescheduled. Here's what happened: A petition arguing that West Side Story presents a negative stereotype of Puerto Ricans, which was signed by some 150 people, circulated around the high school. Under pressure and duress, school officials and authorities caved in and cancelled the WSS production. Truthfully, however, the petition that went around the high school did not represent the viewpoints of the entire Latino community out in the Amherst, MA. area. In fact, the Hispanic community was very divided on the issue. The town of Amherst, MA, which is supposedly a very liberal, openminded and progressive town gave itself a PAIR of big, black eyes on that one!
All of the above having been said, I believe that the reasons for the cancellation of the NY rendezvous of My Name is Rachel Corrie and Amherst Regional High School's cancellation of their stage production of the musical West Side Story came about for the same underlying reasons: fear of controversy and discussion, and intimidation, which has been made much worse by our present administration. It is unfortunate to see theatres, schools, and other institutions of art and/or learning succumbing to this kind of fear and pressure.
for the cancellation of the Corrie thing: the theater's director, Nicola, didn't so much "poll" the Jewish community as he did his *donor list*. The move to cancel probably also didn't start as a "poll" but was instigated by hearing form some of his major donors.
Think about this rationally -- it's quite simple. Imagine a theater project to put this on that is willing to forego donations coming from non-anti-Israel Jews (indefinitely into the future since they have a very long memory). This is how financial pressure works, and there's no reason it should be any different when undertaken by Jews than by, say, pro-Jihad Arabs. And whether this is the right thing to do or not is beside the point.
Think about this rationally -- it's quite simple. Imagine a theater project to put this on that is willing to forego donations coming from non-anti-Israel Jews (indefinitely into the future since they have a very long memory). This is how financial pressure works, and there's no reason it should be any different when undertaken by Jews than by, say, pro-Jihad Arabs. And whether this is the right thing to do or not is beside the point.
The play isn't being censored in New York. Why are people talking as if it had?
You can't DRAFT a theater to put on your work. Can't DRAFT actors. Can't DRAFT the folks who put up the money to finance a production. And you have no call to bitch because apparently people aren't steppingn forward to volunteer.
Do people actually want this play put on? Want in the sense that economists use that word? Funny, but I don't think so. At least we don't seem to see foklks willing to step up to the plate with THEIR hard earned bucks. What we seem to have going on is a lot of bitchign and moanign that OTHER FOLKS don't seem to be willing to do that.
In fact. since nothing CONSTRUCTIVE has taken place toward putting the play on in New York I am beginning to question whether this was serious attempt to actually put on the play or a sham attempt and we are seeing EXACTLY what was intended to take place. After all, it would otherwise be rather naive not to have checked out in advance whether those who woudl be financing the production were in fact willing to do so.
You can't DRAFT a theater to put on your work. Can't DRAFT actors. Can't DRAFT the folks who put up the money to finance a production. And you have no call to bitch because apparently people aren't steppingn forward to volunteer.
Do people actually want this play put on? Want in the sense that economists use that word? Funny, but I don't think so. At least we don't seem to see foklks willing to step up to the plate with THEIR hard earned bucks. What we seem to have going on is a lot of bitchign and moanign that OTHER FOLKS don't seem to be willing to do that.
In fact. since nothing CONSTRUCTIVE has taken place toward putting the play on in New York I am beginning to question whether this was serious attempt to actually put on the play or a sham attempt and we are seeing EXACTLY what was intended to take place. After all, it would otherwise be rather naive not to have checked out in advance whether those who woudl be financing the production were in fact willing to do so.
I beg to differ with you a little bit here.
It's possible that financial pressures were also involved, in addition to the fear of controversy and discussion. Unfortunately, the climate of fear pervading this country has gotten worse under the present administration.
However, I believe that financial pressures(concern over loss of donors on the part of the NYTW) as well as the fear of controversy and discussion COMBINED resulted in the indefinite cancellation of the NY rendezvous of My Name is Rachel Corrie, which is, indeed, very unfortunate.
It's possible that financial pressures were also involved, in addition to the fear of controversy and discussion. Unfortunately, the climate of fear pervading this country has gotten worse under the present administration.
However, I believe that financial pressures(concern over loss of donors on the part of the NYTW) as well as the fear of controversy and discussion COMBINED resulted in the indefinite cancellation of the NY rendezvous of My Name is Rachel Corrie, which is, indeed, very unfortunate.
The Rachel Corrie production is very likely to come to New York city in September. Possible theaters include The Culture Project, whose director has openly admitted to contending for the production; there are several New York city theaters interested in the production. No, this wasn't a sham. It was a serious event filled with disabling self-censorship on the part of the New York Theater Workshop. The production was a sell out at the Royal Court Theater in London, and has moved on to an extended engagement at a theater in London's West End (the equivalent of New York city's Broadway). The first theater to book it was in Seattle with New York theaters now fighting to get it. The NYTW is also wanting it now that they see that their backtracking was not supported in the community and now that they get how many tickets they could sell. However, the Royal Court Theater is not likely to let them do it. The NYTW has a conception of theater that is more "nanny" theater than the British playwrites, actors, and audiences are used to, and from the press about it in New York, it seems that New Yorkers are like Londoners. At least much more than the NYTW thought. I'm afraid they'll have to eat it, but another theater is going to make a killing.
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