Presented at Culture Project

My Name Is Rachel Corrie

45 Bleecker Street, NYC, NY 10012

Order tickets by phone: 866-811-4111
Reg: $25-70

Taken from the writings of Rachel Corrie, Edited by Alan Rickman & Katharine Viner
Directed by Jonathan Kane

On March 16, 2003, Rachel Corrie, a twenty-three-year-old American, was killed in Gaza as she was trying to prevent the demolition of a Palestinian home. MY NAME IS RACHEL CORRIE is a one-woman play composed from Rachel’s own journals, letters and emails – creating a portrait of a messy, articulate, Salvador Dali-loving chain-smoker (with a passion for the music of Pat Benatar), who left her home and school in Olympia, Washington, to work as an activist in the heart of the Israeli-Palestinian conflict. In the three sold-out London runs since it’s Royal Court premiere, the piece has been surrounded by both controversy and impassioned proponents, and has raised an unprecedented call to support political work and the difficult discourse it creates.

Performances begin April 2, 2015 at the Lynn Redgrave Theater, located at 45 Bleecker St, NYC, NY 10012


Photo: Charlotte Hemmings as Rachel Corrie

Kirsten Shultz Photography


“Extraordinary power…funny, passionate, bristling with idealism and luminously intelligent.”
Time Out (London)
“An impassioned eulogy…it’s hard not to be impressed – and also somewhat frightened – by the description of her as a two-year-old looking across Capital Lake in Washington State and announcing, ‘This is the wide world, and I’m coming to it.’”
The New York Times
“You feel that you have not just had a night at the theater: You have encountered an extraordinary woman [in this] stunning account of one woman’s passionate response … theater 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.”
The Guardian (London)
“Here is a play where the real dialogue begins when the curtain comes down. MY NAME IS RACHEL CORRIE is theater that not only stirs our hearts but sticks in our heads.”
“The play shrewdly does not show Corrie dying; it shows her living, in all her funny, lively, melancholy and manipulative immediacy… Her words bear witness to the deracinating madness of war, a hysteria that infects not only those doing the fighting but also those ambitious to do the saving.”
The New Yorker