Here’s Terry Teachout’s take on “My Name Is Rachel Corrie.” Anyone seen this?

Politics makes artists stupid. Take “My Name Is Rachel Corrie,” the one-woman play cobbled together from the diaries, emails and miscellaneous scribblings of the 23-year-old left-wing activist who was run over by an Israeli Army bulldozer in 2003 while protesting the demolition of a Palestinian house in the Gaza Strip. Co-written and directed by Alan Rickman, one of England’s best actors, “Rachel Corrie” just opened off-Broadway after a successful London run. It’s an ill-crafted piece of goopy give-peace-a-chance agitprop–yet it’s being performed to cheers and tears before admiring crowds of theater-savvy New Yorkers who, like Mr. Rickman himself, ought to know better.
. . .
“My Name Is Rachel Corrie,” by contrast, is a scrappy, one-sided monologue consisting of nothing but the fugitive observations of a young woman who, like so many idealists, treated her emotions as facts. “I am disappointed,” she declares, “that this is the base reality of our world and that we, in fact, participate in it. This is not at all what I asked for when I came into this world.” To mistake such jejune disillusion for profundity and turn it into the climax of a full-length play is an act of piety, not artistry.

“Bulldozed by Naivete,” by Terry Teachout, Opinion Journal, October 21, 2006
“My Name Is Rachel Corrie,” at the Minetta Lane Theatre, 18 Minetta Lane