The two plays in this volume, both published here for the first time, offer stark contrasts in style, content and purpose of Anabaptist theatrics. The first concerns Conrad Grebel and is moderately speculative yet faithfully historical; the second concerns Jan van Leiden and its writer took as much literary licence as he wanted. The Grebel monologue has depth of conviction, exhibiting a sincere struggle with what course he might take, given his obstacles and options. The Jan van Leiden play is a story that has largely evolved as myth that unfolds before multitudes, drawing in historical and fictional characters alike. Both Conrad Grebel and Jan van Leiden became legends, but interpretations of their motives and actions have stirred debate until the present day. While those who wish to denigrate the Anabaptist movement relish the example of Jan van Leiden at Münster in northern Germany, others point to Conrad Grebel's social status and education level as lending some credibility to the Zurich circle of early Anabaptists. The centres of gravity of the Grebel story are south Germany, Austria, Paris and Zurich. For Jan van Leiden, the centres shift north to Flemish regions and around north-west Germany. In each case, the question of revolution and violence comes to the fore, with Grebel being hailed by some scholars as rebutting the sword-wielding movement among the radicals, as seen in the Peasants' Revolution and the leadership of the theologian, Thomas Müntzer in the mid-1520s. The Anabaptist Kingdom of Münster in the mid-1530s, stands out as a disastrous example of religious rebellion and what is often labelled as fanaticism. And today, while some hail Grebel for his supposed pacifism, others seek to justify violence as a divine tool for vengeance upon the wicked. In the latter case, the Anabaptists are seen, for example, by Marxists, as proto-socialist revolutionaries raging against the unjust principalities and powers.