←Recommendations of WITCH HUNT

  • Leigh Curran: WITCH HUNT by Carol Lashof
    “

    I was struck by Carol's masterful use of story telling to communicate tender connections, insights, fears, superstitions and the freedom that arises from a simple act of imagination. And under all this, the insidious ways suspicion and hatred are perpetuated on the storyteller, Tituba, an indigenous American slave with a loving, forthright heart who is unable to be anyone but herself. I had no idea how the Salem Witch Trials began but I totally bought Carol's interpretation of events - right up to the powerful, heartbreaking end. A highly relevant, compassionate play with great roles for a...

    I was struck by Carol's masterful use of story telling to communicate tender connections, insights, fears, superstitions and the freedom that arises from a simple act of imagination. And under all this, the insidious ways suspicion and hatred are perpetuated on the storyteller, Tituba, an indigenous American slave with a loving, forthright heart who is unable to be anyone but herself. I had no idea how the Salem Witch Trials began but I totally bought Carol's interpretation of events - right up to the powerful, heartbreaking end. A highly relevant, compassionate play with great roles for a diverse cast!

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    ”
  • Michaela Goldhaber: WITCH HUNT by Carol Lashof
    “

    I wish I could have seen Witch Hunt in high school when I was first learning about the Salem Witch Trials, but I am thrilled to encounter it now. Feminist reconsidering of history at its best, the play centers on Tituba, the enslaved indigenous American woman who was the first accused of witchcraft in 1692. Tender scenes of Tituba telling stories to her master’s children are contrasted with fierce persecution by her own community. Witch Hunt is theatrical, lyrical, and provides delicious roles for a diverse cast.

    I wish I could have seen Witch Hunt in high school when I was first learning about the Salem Witch Trials, but I am thrilled to encounter it now. Feminist reconsidering of history at its best, the play centers on Tituba, the enslaved indigenous American woman who was the first accused of witchcraft in 1692. Tender scenes of Tituba telling stories to her master’s children are contrasted with fierce persecution by her own community. Witch Hunt is theatrical, lyrical, and provides delicious roles for a diverse cast.

    ”
  • Erin Merritt: WITCH HUNT by Carol Lashof
    “

    This timely and very well-written play presents a totally game-changing look at Tituba's story that both helps correct the historical record and centers her agency (and lack thereof) within the events. This sensitive yet galvanizing portrayal provides wonderful roles for Native actors, repositions the girls within their actual (pre-teen) age range, and reminds us that the witch hunts are not metaphors for racism, misogyny and “other”-blaming in our modern era but that racism, misogyny and “other”-blaming are an integral part of the fabric of this country with which we all must reckon...

    This timely and very well-written play presents a totally game-changing look at Tituba's story that both helps correct the historical record and centers her agency (and lack thereof) within the events. This sensitive yet galvanizing portrayal provides wonderful roles for Native actors, repositions the girls within their actual (pre-teen) age range, and reminds us that the witch hunts are not metaphors for racism, misogyny and “other”-blaming in our modern era but that racism, misogyny and “other”-blaming are an integral part of the fabric of this country with which we all must reckon. Beautiful and shattering.

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    ”
  • Sarah Tuft: WITCH HUNT by Carol Lashof
    “

    WITCH HUNT is a long overdue retelling of Tituba’s story. Contrary to the cartoonish person of color in Miller’s THE CRUCIBLE, the real Tituba was an Indigenous American, likely kidnapped into her servitude. The play follows her story from the first spark of suspicion against her, one based on colonialism, to her fight for survival as she becomes the first target of the witch-hunt. But the play avoids easy sentiment by making Tituba a martyr. Instead, WITCH HUNT is told with empathy, imagination, lyricism, rich imagery and a love for both Tituba and her storytelling.

    WITCH HUNT is a long overdue retelling of Tituba’s story. Contrary to the cartoonish person of color in Miller’s THE CRUCIBLE, the real Tituba was an Indigenous American, likely kidnapped into her servitude. The play follows her story from the first spark of suspicion against her, one based on colonialism, to her fight for survival as she becomes the first target of the witch-hunt. But the play avoids easy sentiment by making Tituba a martyr. Instead, WITCH HUNT is told with empathy, imagination, lyricism, rich imagery and a love for both Tituba and her storytelling.

    ”