Romeo and WHO?

New in PJ Media:

Leftists are at war with reality, and are determined to make it over to their liking. And so to hear them tell it, men can become women, the most failed political ideology in the history of the world (that’s socialism, kids) will work this time, we can make our cities safer by abolishing the police and opening the prison doors, and all the rest.

Leftists are also closely allied with Islamic jihadis and supremacists, despite the fact that a good deal of what the left celebrates most fervently would get them killed anywhere Sharia is enforced. Queers for Palestine, for example, would go sailing off the top of the nearest tall building if they ever dared actually to visit the place that is the object of their ardor.

The self-styled queers, however, are not giving up. They’re determined to remake Islam in their own image, and are busy fantasizing about just how delightful that would be. And remember: leftists don’t just hope that fantasy will become reality. They assume that their fantasies are reality, and demand that everyone else go along with them as well. This time, however, their demand that fantasy become reality might not go as smoothly as they think it will.

Next month, Riverside Studios, a trendy “arts centre” in London, is proudly (what else?) presenting Romeo and Hamed, which it describes as “a bold, provocative queer reimagining of Shakespeare’s tragedy from debut writer Scott Horgan.” It is likely quite provocative, and queer it certainly is, both in the old and new senses of the word, but bold? Nah. The play, you see, was originally called Romeo and Mohammed, but the leftists at Riverside Studios allowed themselves enough “Islamophobia” to realize that a production with a title like that could get them all killed, and they decided to tone it down a bit.

Just a bit, though. The Riverside Studios site describes Romeo and Hamed in purple prose that makes quite clear what the play is trying to accomplish. “Romeo,” we’re told, “moves through a world that never softens.” That’s bad enough, and of course, it gets worse: “Croydon’s concrete glare presses in from every side, until Hamed cuts through it. Their connection is immediate and dangerously alive, burning through expectation, faith, and the weight of family loyalty. Yet tragedy, as always, feels inescapable for our young lovers.” Of course it does, maybe because Hamed appears to be part of a religious and cultural tradition that frowns quite deeply upon this sort of thing, although Riverside Studios wouldn’t be caught dead admitting that.

There is more. Read the rest here.