In this brief but concentrated text, Rush Rehm attempts to go back to the “radical nature of Greek tragedy” (9), by which he means that he wants to go back to the roots, foundations, and sources of this ancient genre. Rehm carries out his plan in an unusual yet personal way: Dispersed throughout his study of the genre are his personal observations on such matters as the involvement of the United States government in Nicaragua, Haiti, Guatemala, Dominican Republic, Chile, Granada, Panama, East Timor, Israel, and Cuba. The events of 9/11 are also central to the later chapters. These political statements and forays aside, the author makes clear in his “Introduction: Timely Thoughts” that the “stage per se—understood as a place for artistic enactments like Greek tragedy—has lost much of its power and significance” (13). Rehm has an equally negative disposition to performance study, performance theory, and a modern stage that has departed from the challenges posed by the “original form of ancient tragedy” (17). Radical Theatre: Greek Tragedy and the Modern World is a stimulating read and worthy of note.