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Methuen Drama, London >>> , 2002

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If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
(below) are AbeBooks for secondhand & 1st eds and other Booksellers for new copies

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written by Robert Rae, Nabil Shaban, Jim McSharry, Daryl Beeton, John Hollywood

Disabled Anarchists' Revolutionary Fnclave - is a confrontational piece of theatre designed to unsettle, challenge and change perceptions of people with disabilities, attacking condescension and giving a voice to those no longer willing to stay silent.

Edinburgh: Royal Lyceum Theatre Co., Scotland, EUR >>>

2008

Benchtours / Sinus Pictures

Sirius Book Works

978-0-9548294-1-4

If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
(below) are AbeBooks for secondhand & 1st eds and other Booksellers for new copies

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Play/Drama

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Everyone knows about the millions of Jews who died in the Nazi extermination camps. Countless books, plays and films have been produced to ensure that we never forget and so remain vigilant against any likely recurrence. Yet until Nabil Shaban decided to do something about it, there has never been a play or film which seeks to tell the story of Hitler’s Euthanasia program for disabled people. In fact, THE FIRST TO GO, the First Victims, in Hitler’s systematic drive to purify the Aryan race were people with physical, sensory, mental and psychiatric disabilities. Gas chambers were originally created to speed up the culling of such unwanted “Useless Eaters”, the term used by Hitler to describe disabled people. Nabil Shaban's play doesn't just tell the story of Disabled Victims, it also tells of Disabled Heroes and Disabled Villains. The Disabled Victims, Siegfried, Heide and Helmut....it is their destiny to be given lethal injections. The Disabled Villain, Dr. Josef Goebbels, a man who so hated being crippled with a clubbed foot, he chose to hate all disabled people, he masterminded the propaganda campaign advocating Euthanasia. The Disabled Heroes, Claus von Stauffenberg, the one armed, one eyed "terrorist" who attempted to blow up Hitler And Brunhilde, the German Army nurse who becomes disabled and consequently joins the ranks of the persecuted but in doing so, helps thwart Hitler's plan to rid the world of so-called "imperfect" people.

Edinburgh Fringe

2001

Theatre Workshop Productions

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

Solo

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Charlie is a wheelchair-user in a psychiatric hospital, who believes he made Mark Chapman assassinate John Lennon. The reality is that Charlie murdered his mother. The play tells the story of why John Lennon ended up being killed. . .why Mark Chapman shot h

The Old Bookshop, BAC, London, EUR >>>

2006

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

Solo

Play/Drama

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part of BAC's Matters of Life and Death Festival a season of theatre about death and dying

Death has been described as the last great taboo of our age. Yet it seems to me that death and dying have been well and truly outed. Open a newspaper and you'll find John Diamond facing the consequences of cancer. Turn on the TV and if Oprah isn't helping a studio of people overcome their grief, some soap opera will be showing an individual being snuffed out by a rate incurable disease that nobody has ever heard of, or an entire community rubbed out by a billion-to-one catastrophe. Not since the 17th century and the Jacobean revenge playwrights has popular culture been quite so obsessed by death. Since Diana died and brought funerals back into fashion, we have all become death groupies. In this context, Matters of Life and Death, a season of theatre about death and dying at London's BAC, seems slightly less essential, particularly since so few of the shows get to grips with the subject matter. There has been some terrific theatre work on the theme of dying: it recently proved good West End box office in Margaret Edson's Wit, about an American professor who dies of ovarian cancer. Frantic Assembly's immensely touching Hymns, about the rising toll of young male suicides (which had two performances in the BAC season), and Improbable's Coma have taken death to the cutting edge of performance. But after a week at BAC I feel bombarded by statistics and jokes. Why do so many companies fail to take this subject seriously? Or simply treat it like an actuarial statement? Is it that many of the companies here are' made up of young people who have not yet confronted their own mortality.
Lyn Gardner, Guardian