It isn't on record whether human rights lawyer Rosemary Nelson was aware of the helicopter that flew over the area above her house two days before a car bomb ended her life. Neither is it known how much she knew about the roadblocks and checkpoints set up nearby. All that is known is she'd been in fear of her life for some time. But this is Northern Ireland, after all, where, despite an ongoing official peace process, in terms of justice, and, indeed, law and order, things still happen differently.

At the time of her death, Nelson was investigating another murder, that of Robert Hammill, a young Catholic man kicked to death

mere yards away from an RUC Land-Rover. The suggestion of collusion between the authorities and the mob might just be what led to Nelson's death.

At least, this is what Portadown Blues, a new play devised and presented by Edinburgh's Theatre Workshop, is doing a lot more

than just hinting at. And not only does it point the finger at the

RUC, but suggests, too, that an unspoken acceptance of sectarianism exists throughout the Scottish legal profession.

''The Scottish Law Society sent its condolences,'' according to director Robert Rae, ''but then made a point of asking that its name not

be associated with any calls for a public inquiry into her death. To me, that represents an unspoken boycott of talking about sectarianism in Scotland beyond what people think of as its working-class manifestation, which is football.''

Rae cites the example of leading Scottish QC Donald Findlay caught on film singing The Sash.

''The Orange Order was set up as an anti-Catholic body, it's as simple as that,'' Rae says, pointing out that, despite the terminal complexities of politics on both sides of the Irish border, here things are more black and white. ''It is and it isn't complicated. Robert Hamill was killed because he was a Catholic, it's as simple as that. But this isn't a play about The Troubles. Rather, it's a play about racism, truth, and justice, and how that truth can be

perverted or hidden.''

Portadown Blues certainly won't be sitting on the fence then when it opens this week, but, for all Rae's partisan stance, one wonders how it will translate dramatically. Especially as this destined-to-be-controversial production marks the first full outing for a company of able-bodied and disabled actors. It's a major step forward for Theatre Workshop that Rae has been

campaigning for since he took over the Stockbridge space in 1995. Now it's a reality, though, isn't there a danger of clouding an already explosive set of dramatic issues even further?

''People have a deep-seated fear of dealing with people with disabilities,'' Rae points out. ''Especially when, in theatrical terms, you're dealing with something that isn't about disabilities.''

Rae adds: ''It's very similar to the whole fuss about having a black actor playing a king in Shakespeare. Audiences bring something to bear, because they can't ignore it. So, in that way, we're aware we're part of an

ongoing educative process that will eventually happen in all theatres. Now that there's the Disability Discrimination Act, if one disabled actor turns around and says they didn't get a job because of their disability, the theatre that turned them down can be taken to court.''

Such passion that Rae brings to proceedings can't help but seep through to the rehearsal room floor, and, with less than a week to go to Portadown Blue's first night as we're talking, there are clearly some tensions afoot.

''As a group of individuals we're dealing with very difficult material,'' Rae admits. ''Robert Hamill died in Portadown, and we're putting a play on in Edinburgh which deals with not one, but two brutal murders. So if there weren't passions flying around, there'd be something wrong. Having said that, we're not here to follow anyone's party line, and we're always careful not to be seen as representing a particular group.''

Nevertheless, Portadown Blues is clearly infused with a campaigning spirit that, since the

rise of post-modernism and the perceived death of the left as a political force, is still considered unfashionably worthy. Rae isn't bothered by such clever-clever

dismissals, though. ''Ultimately,'' he says, ''both in Portadown

Blues, and in what Theatre

Workshop are doing with the

integrated company, our responsibility is to the truth.''

n Portadown Blues, Theatre Workshop, Edinburgh, from Thursday to October 21, 1pm and 7.30pm. Schools preview tomorrow, 1pm. Public preview Friday, 7.30pm. Tickets #7 (#4). Box office: 0131 226 5425