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Drawn to the warmth of its strong Italian community, Stefano moved his wife and sons, Steve and Andy, to San Jose. Here and on scouting trips for grapes, Stefano found the produce of his childhood—broccoli, cardoon, fennel, and prickly pear—being grown by Sicilian immigrants. This discovery inspired the first trial planting of commercially grown broccoli from the still-vital seeds in Andrea’s pouch. Later that year, the brothers pioneered the first transcontinental rail shipment of ice-packed broccoli from the West to the East Coast, but their greatest innovations were in marketing and advertising.

By 1923, they had broken with their cousins and started the D Arrigo Brothers Company of Massachusetts, but their success resulted from California dreaming. The Munchkins used to attend the festival in numbers but they have dwindled in ranks over the years and the conference last summer may have marked the end of a longstanding tradition.

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Call for Papers: Special Section

Theatre History Studies Volume 40 (2021)

Co-editors: Jane Barnette and Chrystyna Dail

Shifting Shapes: Witch Characters and Witchy Performances

Actual or inferred witch characters appear in myriad cultures spanning theatre and performance history. Examples abound: the witch-demons in Kyogen, the virgins in Hrosvitha’s Dulcitius, Adeola and several witch doctor characters in Amos Tutuola’s plays, the weird sisters in Shakespeare’s Macbeth, drag witch Jinkx Monsoon, the man cooking Ufe and Wine in Carmen Boullosa’s Cocinar hombres; the “good/bad” witches in iterations of The Wizard of Oz. Witches might be of any sex or gender, gorgeous or grotesque, corporeal or immaterial.

Witch characters and witchy performances invite unlimited interpretations and offer fertile ground for a wide scope of analyses. Witches serve our stages and rostrums as protagonists, antagonists and foils. They may be healers, seers, match makers, pranksters or causers of irreparable harm. Depending on cultural contexts and historical moments, witches can be celebrated beings, scapegoats, respected elders, odd youngsters, hyper-sexualized teens, powerful insiders, maligned “others” or harbingers of social instability. Furthermore, due to the frequency of an explicit focus on physical bodies, abilities and sexualities, witch characters elicit visceral reactions that prove empowering or debilitating to many traditionally marginalized populations in theatre and performance.

The co-editors of this special section invite papers considering how the stage witch operates as a sign within a specific cultural moment; how witchiness provides a uniquely gendered consciousness; and how performed witch(y) bodies negotiate and challenge contemporary and/or culturally situated attitudes on sexuality, race, age, and ability.

Please email the co-editors with your proposed manuscripts no later than January 1st, 2020.

Please direct Special Section inquiries and manuscripts to:

Jane Barnette Chrystyna Dail

Theatre History Studies is the official journal of the Mid-America Theatre Conference and is published by the University of Alabama Press. Please send manuscripts prepared in conformity with the guidelines in the Chicago Manual of Styleand the University of Alabama Press style sheet located on the MATC website (here). Illustrations are encouraged. Essays should be between 6,000-8,000 words and use endnotes rather than footnotes.

Theatre History Studiesaccepts submissions for its general issue on the full range of topics in theatre history on a rolling deadline. Please send manuscripts for the general section to:

Dr. Lisa Jackson-Schebetta, Editor, Theatre History Studies

Associate Professor, Theater

Saratoga Springs, NY 12866

So when we look at America today, what is the situation involving witches and witch hunters? Did Americans support the violation of the 2016 election by Russia and obstruct the effort to reveal the truth? Or are the pure and innocent being falsely accused in hoax by a witch hunter who has overstepped his bounds: “there is no there there”? If the latter is true, then we have a new Joe McCarthy and The Crucible should be updated. If the former is true, then we should hope the musical shout of “Ding-dong, the witch is dead” will rise to the heavens and people will rejoice as if it was V-J Day all over again. The witch killer will have prevailed, the witch hunt will have been successful, and once again there will be peace in the shire.

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