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SHEPHERDSTOWN, W.Va. - "Can art change the world? That's the question." That's one of many questions raised by plays at this year's Contemporary American Theater Festival, according to Ed Herendeen, CATF producing director. He sees that as modern theater's purpose - to ask more questions than it answers. "What makes Americans happy?" Herendeen said that is the overarching question in "The Pursuit of Happiness" by Richard Dresser, the second installment in his "Happiness" trilogy. The first part, "Augusta," premiered at the CATF last year, and the third, "A View of the Harbor," will be read during this year's festival and produced in Shepherdstown next year. "What do we do with sexual offenders? Do they have civil rights?" The world premiere of Lee Blessing's "Lonesome Hollow" brings up these inquiries in a production Herendeen said will "ride a real slippery slope." "What are any of us but a collection of stories?" Jason Grote's "1001" addresses this question in a tale that flows between medieval Persia and post-9/11 Manhattan. "My Name is Rachel Corrie," a compilation of writings from its namesake's diaries, e-mails, journals and letters sent home to her family in Washington state, raises countless questions about the turbulent Israeli-Palestinian relationship and the role others play in its resolution.The CATF, in its 17th season, began on Independence Day with pay-what-you-can previews of "1001" and "Lonesome Hollow," and continues through Sunday, July 29. Boasting more than 60 new plays since its 1991 inception, more than one-third of which were world premieres, the festival is all about newness and now."My Name is Rachel Corrie" marks the first time the CATF has produced a play involving a writer who is dead. Corrie was killed March 16, 2003, in Gaza by a bulldozer that she was trying to block from demolishing the home of a Palestinian. Corrie's family made her writings available to actor-director Alan Rickman - who had roles in the movies "Harry Potter and the Chamber of Secrets," "Die Hard" and "Sense and Sensibility," among others - and journalist Katharine Viner for adaptation into a play. The play marks another first for Herendeen: the first time he has received reams of letters protesting a play's production in Shepherdstown before it was staged. He holds a stack of hundreds of pages, writings sent via the U.S. Postal Service and e-mail, bound together with a rubber band, saying he typically gets letters of protest after people have watched a play on one of the CATF stages. His decision to include "Rachel Corrie" on the roster for this year's festival caused one patron to revoke a $100,000 pledge; Herendeen estimated it will cost the CATF up to $50,000 in other contributions, too.Controversy and conversation"Rachel Corrie" debuted in London in 2005 and was scheduled to open in March 2006 at the New York Theatre Workshop, but it was pulled, with the powers that be there citing the unsettled political climate at the time as the reason for its cancellation."It's been hijacked by people with political agendas," Herendeen said.The play was eventually produced in the U.S. at the Minetta Lane Theatre in New York in October 2006.Herendeen doesn't consider the play anti-Israel or pro-Palestine, but rather views it as a vehicle through which a woman who was politically curious and passionately committed to her cause can express herself."This producing director is not afraid to deal with issues, controversial issues, that might make people uncomfortable," Herendeen said. "I do plays that I'm compelled to produce, ones that hit me in the gut."While he supports entertainment just for entertainment's sake - sometimes even he needs to let his mind relax after reading heavy scripts - as an artist, he feels the need to spark conversations and to help change the world, motivations that linger from his idealistic college days.It's all about relationshipsIn addition to its focus on all things contemporary, the CATF also is about relationships - bonds between playwrights and producers, playwrights and actors, and the complicated ties that bind the characters in each of the plays."We're a playwright-inspired theater," Herendeen said. "We've sort of given birth to new voices." Having the playwrights on hand during some of the rehearsals offers actors and actresses the opportunity to address their questions directly to the creative mind whose lines they are speaking."We don't have to interpret what Shakespeare said anymore," Herendeen said, because the playwright is in the room. Two of the playwrights whose works are being staged this summer have developed ties with the CATF through past productions. In addition to "Augusta," Dresser's "Below the Belt," "Gun-Shy," "Something in the Air" and "Rounding Third" have come to life on Shepherd's stages. "Lonesome Hollow" marks the fourth of Blessing's plays to be produced at the festival, following "Thief River," "Whores" and "Flag Day", and the third world premiere ( "Flag Day" and "Whores" also debuted in Shepherdstown). "It's a highlight every time," Blessing said of having his plays produced in Shepherdstown. Stories to tellGrote was in his first playwriting class in Manhattan the day the Twin Towers were destroyed by terrorists. In "1001," he pairs scenes from the world he lives in - post-9/11 New York - with medieval Persia. His play paints a collage that encompasses a romance between an Arab woman and a Jewish man in Manhattan, and a young Persian woman desperately weaving tales to distract a bloodthirsty king from his plot to slay all virgins in his kingdom. The "Arabian Nights" story shows how the king's brutal male energy is counteracted by Scheherazade's narrative and seduction, said Grote in a telephone interview from New York. The play, the title of which refers to an infinite number in Islamic culture, also contrasts the romanticized images of Arabs in medieval times with the fearful imagery they evoke in some people since the U.S. was attacked in 2001. Narrative is so powerful, Grote noted, with its potential to liberate, make peace or destroy. "Lonesome Hollow" offers another lesson in contrast. The story pairs a highbrow artist once renowned for nude photographs with a brutal pedophile, both sharing the classification of criminal in a play set in the not-too-distant future. The two struggle to grasp the rules of crime and punishment as they coexist in a mysterious penal colony.While news stories about recidivist sexual offenders abound, Blessing said he was intrigued when he read how George Pataki, at the time the governor of New York, was trying to keep more than 300 sexual offenders incarcerated after they served their sentences, something the courts ultimately did not allow. He added that several states are "warehousing" sexual offenders who have already served their time. "It's a very fraught issue," he said in a telephone interview."Sex is more dangerous to us than it was 30 years ago," he said. "How wide will we broaden the definition of a sexual offender?" Speaking of broad definitions, Dresser continues his quest to give meaning to the word "happiness" in the second installment of his trilogy. While "Augusta" focused on the working poor, "The Pursuit of Happiness" puts the microscope on the middle class. The third installment, "A View of the Harbor," will explore what, if anything, brings bliss to the upper class.The parents in "Pursuit" devote their lives to making their daughter happy and educating her so she will have an independent voice. But they are thrown into a tailspin when that voice isn't saying what they want it to."It's a funny play, but it has a bite to it," Herendeen said of the play he has set to the tunes of The Beatles. "Richard Dresser has an amazing ability to get us to laugh at ourselves," Herendeen said, but Dresser also makes audiences consider what they really value.And the play asks questions, just like the others at the CATF. Grote said one particular query "1001" rouses is, "What did I just watch? It's sort of a crazy ride." That ride is what contemporary theater is all about - just ask Herendeen.

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Theater festival schedule

The festival is at Shepherd University, Shepherdstown, W.Va. For more information, call 304-876-3473 or 800-999-CATF (2283); or go to www.catf.org.'1001' showtimesAll performances take place at Frank Center Stage:· 8 p.m. Friday, July 6 - followed by opening-night reception on Frank Center lawn· 2 p.m. Saturday, July 7· 5:30 p.m. Sunday, July 8· 8 p.m. Thursday, July 12 - followed by a post-show discussion· 8 p.m. Saturday, July 14· 1 p.m. Sunday, July 15· 2 and 8 p.m. Wednesday, July 18· 8 p.m. Friday, July 20· 2 p.m. Saturday, July 21· 5:30 p.m. Sunday, July 22· 8 p.m. Thursday, July 26· 8 p.m. Saturday, July 28· 1 p.m. Sunday, July 29'The Pursuit of Happiness'showtimesAll performances take place at Frank Center Stage:· 8 p.m. today - pay-what-you-can preview· 8 p.m. Saturday, July 7· 1 p.m. Sunday, July 8· 2 and 8 p.m. Wednesday, July 11 - 8 p.m. performance followed by a post-show discussion· 8 p.m. Friday, July 13· 2 p.m. Saturday, July 14· 5:30 p.m. Sunday, July 15· 8 p.m. Thursday, July 19· 8 p.m. Saturday, July 21· 1 p.m. Sunday, July 22· 2 and 8 p.m. Wednesday, July 25· 8 p.m. Friday, July 27· 2 p.m. Saturday, July 28· 5:30 p.m. Sunday, July 29'Lonesome Hollow' showtimesAll performances take place at Studio Theater:· 8:30 p.m. Friday, July 6 - followed by opening-night reception on Frank Center Lawn· 2:30 p.m. Saturday, July 7· 6 p.m. Sunday, July 8· 2:30 and 8:30 p.m. Thursday, July 12· 8:30 p.m. Saturday, July 14· 1:30 p.m. Sunday, July 15· 2:30 and 8:30 p.m. Wednesday, July 18 - 8:30 p.m. performance followed by a post-show discussion· 8:30 p.m. Friday, July 20· 2:30 p.m. Saturday, July 21· 6 p.m. Sunday, July 22· 2:30 and 8:30 p.m. Thursday, July 26· 8:30 p.m. Saturday, July 28· 1:30 p.m. Sunday, July 29'My Name is Rachel Corrie'showtimesThese performances take place at Studio Theater:· 8:30 p.m. today - pay-what-you-can preview· 8:30 p.m. Saturday, July 7· 1:30 p.m. Sunday, July 8· 2:30 and 8:30 p.m. Wednesday, July 11· 8:30 p.m. Friday, July 13· 2:30 p.m. Saturday, July 14· 6 p.m. Sunday, July 15· 2:30 and 8:30 p.m. Thursday, July 19 - 8:30 p.m. performance followed by a post-show discussion· 8:30 p.m. Saturday, July 21· 1:30 p.m. Sunday, July 22· 2:30 and 8:30 p.m. Wednesday, July 25· 8:30 p.m. Friday, July 27· 2:30 p.m. Saturday, July 28· 6 p.m. Sunday, July 29Under the Tent Lecture SeriesThe following talks are on the Frank Center lawn:· 4:30 p.m. Saturday, July 7: Meet the playwrights for discussion of their work.· 4:30 p.m. Saturday, July 8: The Peace Caf will create an open environment for discussing social issues and peace in the Middle East.· 4:30 p.m. Saturday, July 14: Founding members of Combatants for Peace will discuss their movement, which was started by Palestinians and Israelis.· 4:30 p.m. Saturday, July 21: Barbara Gottschalk, board member of Seeds of Peace, will discuss the organization's mission to empower young leaders with the leadership skills.Staged reading in the Studio Theater7 p.m. Tuesday, July 10, featuring a reading of Richard Dresser's "A View of the Harbor," the final play in his "Happiness" trilogy. Ticket detailsSingle tickets for all Wednesday and Thursday performances cost $30; students and those 65 and older pay $26. Single tickets for all Friday, Saturday and Sunday shows cost $36; students and those 65 and older pay $30.A CATCard to see all Wednesday and Thursday performances costs $100; for students and those 65 and older, the cost is $81. A CATCard to attend all performances on any day costs $120; for students and those 65 and older, the cost is $100.No charge for lectures or the staged reading. Questioning is encouraged

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Legit Reviews: ?As Marwan, the warmly engaging narrator of "Baghdad Wedding" explains, "In Iraq, a wedding is not a wedding unless shots get fired. It's like in England where a wedding is not a wedding unless someone pukes or tries to fuck one of the bridesmaids." You don't expect a play about Iraq to sport good jokes. Baghdad Wedding