YASSER: I’m telling you, the rock throwing form of the latter of half of the first intifada and the beginning of the second can be traced to Susu, to her pirated tapes, to the obsessed young boys that studied her throwing the ball, throwing stones from every angle, the multitude of shabab who refused to throw any less powerfully than she showed them. I call it the Soraya Effect...


In an Israeli prison, a wound American man tormented – by an interrogator, by his anger, by his memories. He is haunted by Suraya, a Palestinian-American girl who could throw a baseball like nobody’s business. A play about resistance, and baseball, and the perfect throw.  



Born in Beirut to Palestinian parents and raised in Chicago, Ismail Khalidi is a playwright, poet and activist, as well as an actor, educator and journalist on occasion. Khalidi holds an MFA from NYU's Tisch School of the Arts and is the author of the award-winning play Tennis in Nablus. His plays have been produced and read at theaters and universities around the country and abroad, including Atlanta's Tony Award-winning Alliance Theatre (Tennis in Nablus, 2010). Khalidi's other plays include Truth Serum Blues, which was commissioned and produced by Pangea World Theater (2005), Final Status, and most recently, Sabra Fallinghttp://www.ismailkhalidi.com/