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Jewish World Review
June 30, 2006
/ 4 Tamuz, 5766
The Corrie Show must go on
After the New York Theater Workshop had the good taste to back away from staging "My Name is Rachel Corrie" a few months
ago, the British production has moved to New York's Minetta Lane Theater for a one-month run starting October 15th.
It's a one-woman show based on diaries and e-mails written by the 23-year-old American "human rights" campaigner (i.e. terrorist
rights campaigner), who was crushed in 2003 when she wouldn't get out of the way of an Israeli bulldozer as she protected a
Palestinian explosive-smuggling tunnel from demolition.
Reuters reported that the play, directed by actor Alan Rickman, "was a hit in London."
No kidding. England isn't exactly known for its Judeophilia. Besides that, there are more Muslims on London streets than anyone
else (to paraphrase Saddam Hussein: if you want to fight Islamic terrorism, you should start by bombing London) so the likely
ethnic makeup of the audience also had something to do with the play being a smash.
According to Corrie's aunt Cheryl Broderson, the family is "absolutely ecstatic" that the play will be seen in New York.
As am I, since I adore English comedy. I mean, let's be honest: I've seen how slowly a bulldozer moves. There's a lot of
construction in my neighborhood, and my dog and I had to get out of the way of one that was heading toward us. We managed to
do so 16 times before it got close. In other words, in order to end up under a bulldozer, you would have to really want to be under a
bulldozer. It would have to be your life's ambition to be under a bulldozer. And if that's your life's goal, there's nothing anyone can do
about it. So it's a good thing that the play's intention is to be celebratory of Corrie's life: unlike most of us, she achieved her dream
and died doing what she loved: being under bulldozers.
This should be better than "The Madness of King George." (It's
not for nothing that the third anniversary of Corrie's death was commemorated with a salute to
her family and friends by the Gaza Community Mental Health Program.)
"We wanted to present a balanced portrait," Director Rickman said of the play. "The activist part of her life is absolutely matched by
the imaginative part of her life. I've no doubt at all that had she lived, there would have been novels and plays pouring out of her."
But Alan, given the stale and obsolete position she took on the Palestinian-Israeli front of the global jihad, we can conclude that she
would have been a hack. So as far as creativity and imaginativeness go, no loss there. I, on the other hand, have a clever line to
lend to this comedy production: What do you call an off-duty terrorist? A civilian.
On a side note, the weapons-smuggling tunnels beg a question: One of the Palestinians' grievances against the Israelis is that the
IDF security mechanism often interferes with much needed medical supplies or medical care getting to and from the territories. But
the Palestinians don't seem to have any trouble getting weapons through. Couldn't they just use their terror tunnels for the medical
supplies? What's the problem? Meanwhile, isn't it funny how the modern meaning of the term "human rights" refers to the human
right to kill Jews? That there isn't anything even approaching a parallel outcry for the human rights of maimed, burned, killed and
desecrated Israelis implies that Israelis are not human. More generally and more accurately, of course, "human rights" refers to the
Muslim human right to kill non-Muslims (a.k.a. sub-humans).
Rachel Corrie was not a human rights campaigner, but a terror enabler, a human shield for the less than human. Muslims worldwide
must have had a field day with her death; these third-worlders probably can't get over their PR cunning which has Americans
throwing themselves under bulldozers for them. Not only do they get their own young people to sacrifice their lives for jihad, they've
gotten ours to as well.
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