**Michael VanZandt Collins**

Theology Department, Boston College, Boston, MA 02467, USA; vanzandt@bc.edu

Received: 16 December 2019; Accepted: 3 April 2020; Published: 8 April 2020

**Abstract:** This article addresses issues and questions at the intersection of religion and theatrical drama from the perspective of Muslim-Christian comparative theology. A case study approaching an actual performance of Shakespeare's *Romeo and Juliet* from this disciplinary point of view also takes into account the Syrian context, develops a framework for "mutual witnessing", and the practice of drama therapy. Accordingly, the case-method proceeds to address two interrelated challenges. The first is how to relate to the adaptive praxis and theological sensibilities of performers who inhabit a political and religious situation that is radically different from one's own. The second regards in a more specific way of reframing a case of Christian martyrdom in terms of witnessing that remains open and hospitable to religious others, and particularly in this case to Syrian Muslims. As an exercise of comparative theology, this case-method approach focuses on notions of "witnessing truth" that appear and are cultivated in the work of liberation theologian Jon Sobrino and in Ibn 'Arab¯ı's *Fusus¯ al-Hikam*, specifically the chapter on Shuayb. In conclusion, this exercise turns to the performance itself as a potential foundation for shared theological reflection between Muslims and Christians. As such, this article attempts to render how theatrical action creates a "religious" experience according to the structure and threefold sense that Peter Brook observes.

**Keywords:** Syria; witness; martyrdom; theatrical drama; *Romeo and Juliet*; Frans van der Lugt; comparative theology; William Shakespeare
