Hubbry Logo
Unto These HillsUnto These HillsMain
Open search
Unto These Hills
Community hub
Unto These Hills
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Unto These Hills
Unto These Hills
Unto These Hills
View on Wikipedia
from Wikipedia

Unto These Hills
The cast assembles for the drama, July 19, 2012.
Written byKermit Hunter; Hanay Geiogamah; Pat Allee, Ben Hurst and Linda Hurst
Date premieredJuly 1, 1950 (1950-07-01)
Place premieredCherokee, North Carolina
GenreOutdoor historical drama
Singers perform on the left side of the amphitheater before the play begins and the audience gathers.
Another look at the play
Closeup of Unto These Hills performers

Unto These Hills is an outdoor historical drama during summers at the 2,800-seat Mountainside Theatre in Cherokee, North Carolina. It is the third oldest outdoor historical drama in the United States, after The Lost Colony in Manteo in eastern North Carolina and The Ramona Pageant in Southern California.[citation needed] The first version of the play was written by Kermit Hunter and opened on July 1, 1950, to wide acclaim.

The play recounts the history of the Cherokee of the Eastern region up to their removal by United States forces in 1838 via the Trail of Tears to Indian Territory, now Oklahoma. The drama includes notable Cherokee historic figures, including Sequoyah, Junaluska, Chief Yonaguska a.k.a. Drowning Bear, and William Holland Thomas.

History

[edit]

The Western North Carolina Associated Communities (WNCAC) in western North Carolina wanted to develop tourism and promote economic growth in the western part of the state. Inspired by the success of Paul Green's historic outdoor drama, or political pageant, The Lost Colony, the WNCAC decided to make another political pageant about the Eastern Band of Cherokee Indians (EBCI) in Cherokee, North Carolina. When Paul Green was unavailable to write a second play, they commissioned UNC graduate student Kermit Hunter to write the new outdoor drama. With the help of Joe Jennings, director Samuel Selden chose the EBCI's homeland of Cherokee, North Carolina, as the backdrop for the drama. The Mountainside Theatre was built for this outdoor drama. The play was first produced on July 1, 1950. It was immediately successful with more than 100,000 audience members in its first year of production.[citation needed]

The play has run for more than 70 years at the Mountainside Theatre, which is owned and operated by the Cherokee Historical Association.[1] It is staged Monday through Saturday evenings.

Famous alumni of Unto These Hills include Michael Rosenbaum, best known for his portrayal of Lex Luthor on Smallville; Adam Richman, host of Travel Channel's Man v. Food; Polly Holliday, of the 1970s sitcom Alice; and actor and former U.S. Representative Ben L. Jones of Georgia, a regular on CBS's The Dukes of Hazzard.[2]

In 2006, the EBCI Tribal Government hired playwright Hanay Geiogamah (Kiowa) to revise the script, the first complete rewrite since the play was instituted. Geiogamah is a writer/director/producer of Native American dramas, as well as the founder of the American Indian Dance Theatre and Professor in the Department of Theater at the University of California, Los Angeles. Geiogamah was chosen to address a number of issues with the previous script, including historical inaccuracies. He was also encouraged to increase Cherokee tribal participation in the cast. Geiogamah accepted this challenge, wrote a new script, and produced a show. But many tribal members were reportedly not fond of the new play version, saying that it removed the Cherokee style of story telling and their history in this area.[citation needed] Geiogamah had added more interpretive dance to help convey the story. In addition, many tribal members missed having the story of Tsali included in the play.[citation needed] He is believed to have sacrificed his life in battle to gain approval for the remainder of his Cherokee people to stay in their homeland of North Carolina, at a time of conflict with European Americans.

In 2007, the tribe hired Pat Allee and Ben Hurst to write a new script. In 2008, additional changes were made by Linda West.[3] Fewer than 50,000 people saw the performance in summer 2009, about half the number from years ago. John Tissue, director of the Cherokee Historical Association, suggests economic problems as the reason for the reduced crowds. The 2010 production is credited to Linda Squirrel. Eddie Swimmer, a Cherokee, serves as director of the drama.[1] As of 2010, more than six million people have seen the production.[citation needed]

In 2015, it was announced that the original Kermit Hunter script from 1950 would be brought out of retirement. Several changes were made to make the original script more historically accurate. Many attendees have been well pleased to see the original version of the show.

In 2020, the production announced that the 2020 season was cancelled due to the COVID-19 pandemic. It was the first time the drama did not have a production season. The drama returned to their normal operating schedule in May 2021.

Sequel

[edit]

The Cherokee Nation hired Hunter to write a sequel, The Trail of Tears, covering the period during and after the removal to Indian Territory in what became the state of Oklahoma. That drama was performed at a large outdoor amphitheater at the Cherokee Heritage Center (then known as Tsa-La-Gi), from 1969 through 2005.[4]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Unto These Hills

View on Grokipedia
from Grokipedia
Unto These Hills is an outdoor historical drama performed at the Mountainside Theatre in , that recounts the history of the from their initial contacts with Europeans through the and the subsequent formation of their community. The production, which premiered on July 1, 1950, was scripted by Kermit Hunter following two years of research into records and oral traditions. It incorporates music, dance, and reenactments of pivotal events, including the 1540 arrival of , involvement in the , and the 1838 forced removal by forces. Produced annually by the Historical Association during the summer months from late May to August, the drama has drawn over six million attendees across its more than seven decades, contributing to the preservation and dissemination of Cherokee historical narratives. In 2006, substantial revisions were made to the original script to improve historical fidelity. The show's endurance, marked by its 75th anniversary in 2025, underscores its role in educating visitors on the resilience and cultural continuity of the Cherokee amid displacement and adaptation.

Production Overview

Venue and Logistics

The Mountainside Theatre, an open-air amphitheater seating approximately 2,100 spectators, serves as the venue for Unto These Hills in , on the of the . Located at 688 Drama Road, the theater is situated against the backdrop of the , allowing performances under the stars in a natural forest setting. Performances occur Monday through Saturday from late May to late August, with the 2025 season scheduled from May 31 to August 23. Gates open at 7:00 p.m., followed by preshow entertainment at 7:30 p.m. and the main production starting at 8:00 p.m., lasting about two hours. The venue offers general and reserved seating options, with ample free parking available on site. As an outdoor production, shows proceed rain or shine, though cancellations may occur in cases of for safety reasons. Spectators are advised to bring weather-appropriate clothing and due to the mountain environment.

Performance Schedule and Format

"Unto These Hills" is performed at the Mountainside Theatre, a 2,100-seat open-air amphitheater located at 688 Drama Road in . The production operates as an evening outdoor drama, featuring a combination of scripted dialogue, choral music, traditional Cherokee dances, and theatrical scenes to recount historical events. Each performance lasts approximately two hours, concluding around 10:00 PM. The show structure includes a pre-show starting at 7:30 PM, which often features additional entertainment such as singers or cultural demonstrations, following doors opening at 7:00 PM. The main performance begins at 8:00 PM and runs Monday through Saturday during the season. For the 2025 season, performances occurred from May 31 to August 23, spanning about 12 weeks, though exact dates may vary annually based on production decisions by the Historical Association. Accessibility features at the venue include shuttles to assist patrons to seating rows, accommodating the sloped terrain of the amphitheater. As an open-air production, shows proceed rain or shine, with recommendations for attendees to bring blankets or jackets for variable mountain weather. The format emphasizes live staging against the natural backdrop of the Smoky Mountains, enhancing the immersive retelling of .

Cast, Crew, and Production Elements

The outdoor drama Unto These Hills is produced annually by the Cherokee Historical Association at the Mountainside Theatre in , an open-air amphitheater with a capacity of approximately 2,800 seats. The production features a large cast of performers, predominantly Native Americans from the and other tribes, emphasizing cultural authenticity in portrayals of historical figures and events. For the 75th anniversary season in 2025, the cast numbered 77 actors, including 22 youth members drawn from eight federally recognized tribes. Originally scripted by Kermit Hunter, who completed the work in 1949 for its debut on July 1, 1950, the production has evolved with revisions to enhance historical accuracy and Native perspectives. Early seasons relied heavily on non-Native actors, with whites portraying most roles except one, but by the 2006 revision, the crew shifted to an all-Native American team, including a Pawnee production head, co-writer, and Seneca composer, to provide a more authentic depiction. Directors vary by season; recent examples include Marina Hunley-Graham for 2023 and Chelsey Moore in subsequent years. Production elements incorporate traditional Cherokee music, dances, and , alongside dramatic staging with battle scenes, , and period costumes to reenact key historical moments such as the . The show runs for about two hours, supported by a technical crew handling lighting, sound, and sets designed to integrate with the natural hillside backdrop, fostering an immersive experience under the open sky. Casting prioritizes tribal members through annual auditions, ensuring continuity of cultural knowledge transmission while employing professional standards for live performance.

Content and Script

Original Script and Authorship

The original script for Unto These Hills was written by Kermit Hunter, an American playwright renowned for composing large-scale outdoor historical dramas such as The Lost Colony and Horn in the West. Hunter, who produced over 40 such symphonic dramas between 1937 and his death in 1974, was commissioned by the Historical Association to create a production that dramatized for performance in the region. The script spans approximately two hours in performance and focuses on pivotal events from Cherokee encounters with European settlers in the 1730s through the forced removal via the in 1838–1839, emphasizing themes of resistance, cultural persistence, and loss. Hunter's authorship involved extensive research into primary historical sources, including treaties, missionary accounts, and oral traditions, though the incorporates dramatic interpretation to suit the outdoor amphitheater format with music, , and spectacle. The full script was published as Unto These Hills: A Drama of the Cherokee by the , with an enduring editions reprint in 2011 preserving the original text. This version opened to an audience of 2,400 on July 1, 1950, at the newly constructed Mountainside Theatre, marking the production's debut under the association's sponsorship to attract visitors to . While Hunter's work has been critiqued for selective emphasis on heroic figures and simplified causal portrayals of historical conflicts, it remains the foundational text, with later revisions building upon rather than supplanting his structure.

Plot Summary and Key Scenes

The outdoor drama Unto These Hills presents a chronological narrative of in the American Southeast, emphasizing the Eastern Band's origins amid cultural vibrancy, European encroachment, and . The story commences with depictions of pre-contact society, showcasing traditional dances, spiritual practices, and communal life in the Appalachian hills, underscoring the tribe's self-sufficiency and governance under figures like early chiefs. This foundational portrayal transitions to the disruptive arrival of Europeans, beginning with Hernando de Soto's 1540 expedition, which introduces themes of initial trade, disease, and violent clashes that erode Cherokee autonomy. As the script advances into the colonial and early republican periods, it illustrates Cherokee adaptations, including alliances during the and —highlighted by Chief Junaluska's role in saving at the 1814 —and efforts toward "civilization" policies, such as adopting agriculture, literacy, and constitutional governance under Principal Chief John Ross. Tensions escalate with 19th-century land speculation, the 1828 , and the of 1830, leading to internal divisions and the unauthorized in 1835, signed by a minority faction, which purportedly ceded Cherokee lands despite majority opposition. The narrative crescendos with the 1838 enforcement under General , portraying the roundup of approximately 16,000 Cherokee into stockades and their subsequent march westward, where an estimated 4,000–5,000 died from exposure, disease, and starvation along the . The drama's resolution shifts to resilience and reconstitution, focusing on evasion tactics by roughly 1,000 who hid in remote areas, and the pivotal sacrifice of Tsali, who in 1838 surrendered with his sons to U.S. authorities to avert further massacres, enabling the survivors' eventual purchase of the lands in 1874 and formal recognition as the Eastern Band in 1866. Integrated throughout are Cherokee songs, stomp dances, and theatrical effects evoking both celebration and sorrow, framing the Eastern Band's persistence as a triumph over near-extinction. Key scenes amplify dramatic tension through spectacle and historical fidelity:
  • Early Contact and Battle Sequences: Vivid reenactments of de Soto's incursions feature intense combat with muskets and melee, symbolizing the onset of irreversible disruption, accompanied by thunderous sound effects and choreography blending warfare tactics with European armaments.
  • Junaluska's Loyalty and Betrayal: A pivotal moment depicts Junaluska's heroism at Horseshoe Bend, contrasted with later ingratitude from Jackson's administration, underscoring themes of unrequited alliance and foreshadowing removal policies.
  • Trail of Tears March: Heart-rending procession scenes show families enduring rain-soaked treks, separations, and mass graves, with actors portraying physical exhaustion and spiritual resolve, evoking the documented mortality rate of over 25% among emigrants.
  • Tsali's Sacrifice: The emotional climax portrays Tsali's voluntary execution with his family to satisfy military demands, allowing hidden to emerge peacefully, a foundational act credited with preserving the Eastern Band's presence in .

Themes and Narrative Focus

"Unto These Hills" centers its narrative on the ' origins, spanning from initial European encounters in the through the forced removals of the , emphasizing the selective survival of those who evaded the to reconstitute in . The storyline traces pivotal conflicts, including land encroachments by settlers, internal debates over adaptation versus tradition, and U.S. government policies culminating in the in 1835, which facilitated widespread deportation despite opposition from principal chiefs. This focus underscores causal factors such as broken treaties and military enforcement under President , portraying removal not as inevitable progress but as a deliberate act of dispossession affecting approximately 16,000 , with mortality rates exceeding 25% en route. Key themes revolve around resilience and cultural endurance amid tragedy, depicting the as bearers of ancient traditions who resisted assimilation through figures exemplifying sacrifice and leadership. The drama highlights heroism in evasion tactics, such as retreats into remote Appalachian enclaves, and the role of non-Indian allies like in securing federal recognition for the remnant group by 1866. emerges as a recurring motif, evident in the unauthorized signed by a minority faction, contrasted with loyalty to communal sovereignty and spiritual ties to the land, framed as enduring despite numerical decimation. The narrative prioritizes a triumphant arc for the Eastern Band, celebrating post-1838 reconstitution under leaders like Yonaguska, who enforced sobriety and to affirm viability against narratives propagated by removal advocates. Themes of and familial bonds interweave with suspenseful depictions of pursuits and hidings, reinforcing over individual loss, while implicitly critiquing expansionist policies as drivers of rather than mutual exchange. This structure serves to educate audiences on causal chains from contact-era failures to modern tribal , drawing from oral histories and documented resistances verified in federal records.

Historical Foundation

Pre-Contact and Early European Contact

The inhabited a vast territory in the prior to European contact, encompassing the and surrounding regions across present-day , , Georgia, eastern , northern , and parts of and . Their settlements were organized into semi-autonomous towns clustered by geography, including the Overhill Towns along the Little Tennessee and Hiwassee Rivers in modern eastern , the Middle Towns in the western mountains, the Valley Towns south of the Middle Towns, and the Lower Towns along the headwaters of the in Georgia. These communities featured permanent villages with large council houses serving as centers for governance, ceremonies, and decision-making by town leaders and warriors. Cherokee society was structured around a matrilineal system, where descent and inheritance passed through the mother's line, and children were born into her ; husbands typically joined their wives' households upon marriage. The seven traditional clans— (Ani-Waya), Deer (Ani-Kahwi), (Ani-Gilohi), (Ani-Tsisqua), (Ani-Wodi), Wild Potato (Ani-Gotegewi), and Blue (Ani-Sahoni)—regulated social relations, marriage prohibitions ( required marrying outside one's ), and roles within the community. Economically, the Cherokee relied on a mixed subsistence strategy: women managed , cultivating the "three sisters" crops of corn, beans, and squash in fields adjacent to villages, supplemented by , sunflowers, and gathered wild ; men focused on deer, , , and small game for and hides, as well as in rivers and streams. This division of labor supported stable, sedentary populations in fertile river valleys, with towns often defended by palisades and strategic locations. The first documented European contact with the occurred in spring 1540, when Hernando de Soto's expedition of approximately 600 Spanish soldiers, along with African and Native American allies and slaves, entered their territory from the south after traversing modern-day Georgia and . Seeking and other riches, de Soto's forces marched northward through lands in what are now and eastern , reaching areas near the town of Xualla (possibly in the Overhill region) by May-June. Interactions were hostile: the Spaniards demanded food supplies and tribute from villages, seized captives as slaves, and clashed in skirmishes where warriors resisted, inflicting casualties on the intruders but suffering losses from superior European arms. The de Soto incursion introduced devastating pathogens, including , , and , to which the —and broader Native populations—lacked immunity, triggering epidemics that caused profound demographic declines even before sustained colonial settlement. While exact Cherokee mortality figures from this era are elusive, broader scholarly estimates indicate that up to 95% of southeastern Native populations perished from such diseases within the first 150 years following Columbus's arrival, fundamentally altering social structures and inter-tribal dynamics. De Soto's expedition departed eastward without establishing permanent outposts, leaving behind weakened communities; subsequent Spanish probes were minimal, delaying intensive contact until English traders from the Carolina colonies initiated deerskin exchanges for metal tools, cloth, and firearms in the late . These early encounters set the stage for escalating trade, alliances, and conflicts that reshaped Cherokee autonomy.

Cherokee Internal Dynamics and Conflicts

In the early decades of the , Cherokee society grappled with internal divisions stemming from varying degrees of and responses to encroaching European-American settlement. Traditional full-blood Cherokees, who adhered closely to indigenous governance, , and , increasingly clashed with an acculturated —often mixed-descent leaders who had embraced , , , and constitutional modeled on the . These tensions manifested in debates over adaptation strategies, with the acculturated faction arguing for selective modernization to secure , while traditionalists viewed such changes as erosion of communal identity. By the 1830s, amid escalating pressures from Georgia's state laws asserting jurisdiction over Cherokee lands—enacted despite the U.S. Supreme Court's 1832 ruling in affirming tribal autonomy—these divisions polarized into formal political factions. The National Party, led by Principal Chief John Ross and representing the majority of approximately 16,000 who petitioned against removal, advocated legal resistance through lawsuits, memorials to Congress, and adherence to the Cherokee constitution prohibiting land cessions without National Council approval. In opposition, the Treaty Party, comprising about 500 acculturated leaders including , his son , and , contended that voluntary removal was inevitable given Georgia's land lotteries, militia incursions, and U.S. inaction, proposing negotiated emigration to preserve Cherokee cohesion westward. The schism culminated in the unauthorized signing of the on December 29, 1835, by Treaty Party delegates, which ceded all lands east of the in exchange for territory in present-day and relocation funds, bypassing the National Council's veto and the expressed will of over 90% of the tribe as documented in a 1836 petition with 15,000 signatures. Ratified by the U.S. on May 23, 1836, by a single vote despite protests, the ignited accusations of from National Party adherents, who deemed it a violation of law punishable by death, while Treaty Party members justified it as a pragmatic sacrifice to avert total annihilation amid Georgia's aggressive dispossession tactics. Post-removal retribution underscored the depth of these conflicts. In the winter of 1838–1839, as surviving detachments coalesced in , National Party enforcers executed Treaty Party principals: was ambushed and killed at his home on June 22, 1839; was dragged from his bed and stabbed the same day; and was shot from ambush while riding on the following day, June 23. These assassinations, framed by perpetrators as enforcement of tribal law against unauthorized land sales, provoked retaliatory violence and near-civil war, only quelled by the 1840 Act of Union that restructured the government under Ross's leadership. The episode revealed how external U.S. policies amplified preexisting cultural and strategic fissures, fracturing ties and structures that had sustained the for generations.

The Trail of Tears and Resistance

The , signed into law by President on May 28, 1830, empowered the federal government to negotiate treaties exchanging Native American lands east of the for territory in present-day . The , with an estimated population of around 20,000 in the , mounted sustained resistance under Principal Chief John Ross, who led efforts to assert tribal sovereignty through legal, diplomatic, and communal means rather than armed conflict. Ross, serving as chief from 1828 until his death in 1866, coordinated petitions to —including a 1830 memorial signed by nearly 16,000 Cherokee citizens opposing removal—and leveraged the tribe's adopted constitution and written laws to challenge state encroachments. This resistance emphasized the Cherokees' prior accommodations, such as adopting European-style , agriculture, and literacy via the invented by in 1821, in hopes of securing recognition as a domestic dependent nation. Legal challenges peaked with two U.S. cases. In (1831), Chief Justice ruled that the were not a foreign state but a "domestic dependent nation" entitled to federal protection against state interference. The following year, in (1832), the Court invalidated Georgia's extension of state laws over territory, affirming tribal self-governance and treaty rights under the U.S. and prior agreements. However, President Jackson declined to enforce the rulings, reportedly remarking that Marshall's decision lacked practical backing, allowing Georgia to continue pressuring Cherokee landholders through lotteries and laws nullifying tribal authority. A minority faction, including and his son , signed the on December 29, 1835, ceding Cherokee lands for $5 million and relocation provisions, despite lacking majority support; the U.S. Senate ratified it in May 1836, mandating removal within two years. Ross and the National Council denounced the treaty as fraudulent, gathering evidence of coercion and presenting counter-petitions, which delayed enforcement until federal troops intervened. Forced removal commenced in May 1838 under President , with General directing U.S. Army detachments to round up approximately 17,000 into 11 inland stockades and Fort Cass, where overcrowding, poor sanitation, and disease claimed hundreds of lives even before departure. The main migrations occurred in 13 land-based groups and several water routes during the harsh winter of 1838–1839, covering over 1,000 miles amid exposure, malnutrition, and epidemics of and . Missionary accounts and records estimate that 4,000 to 5,000 perished en route—about one-fifth of the removed population—due to these conditions, with women and children disproportionately affected; for instance, Ross's wife, Quatie, died of in 1839 near . Resistance persisted through evasion, as roughly 1,000 hid in the mountains, later forming the nucleus of the Eastern Band via the 1842 Treaty of Sycamore Shoals, which granted them limited lands for $600,000. These holdouts exemplified passive defiance, sustaining cultural continuity despite federal pressure, while the broader removal underscored the limits of judicial protections against executive policy favoring settler expansion.

Post-Removal Reconstitution of the Eastern Band

Following the forced removal of approximately 16,000 Cherokee westward along the between 1838 and 1839, an estimated 800 to 1,000 individuals evaded capture and remained in the remote mountainous regions of , primarily along the Oconaluftee River. These holdouts, facing relentless pursuit by U.S. military forces, sustained themselves through guerrilla-style resistance and concealment in the , preserving a core population that formed the nucleus of the Eastern Band. A pivotal act of resistance occurred in November 1838 when Tsali (known to whites as Charley), a farmer, killed two soldiers pursuing his family group, prompting his capture along with his sons and others on November 1. To avert further bloodshed and expulsion, Tsali negotiated with U.S. officer William R. Sanders, agreeing to his own execution—carried out on November 25, 1838—along with two sons, in exchange for allowing compliant families to remain unmolested in . This sacrifice, corroborated in military dispatches and oral traditions, effectively secured a fragile reprieve for hundreds, enabling the gradual coalescence of remnant communities under leaders like Yonaguska (Drowning Bear), whose Valleytown band of about 400 had earlier resisted removal through non-violent advocacy and legal maneuvers facilitated by his adopted white son, . Yonaguska's death in 1839 left Thomas as advocate, petitioning federal authorities to honor pre-removal exemptions for loyalist . By the 1840s, these survivors faced intensified assimilation pressures, including loss of communal lands and taxation as non-citizen "free persons of color" after an 1866 law stripped remaining tribal status in exchange for . Under successive chiefs like Nimrod Jarrett Smith, Yonaguska's adopted heir, the group reconstituted economically by pooling resources to repurchase fragmented ancestral lands from speculators, acquiring over 15,000 acres by the 1870s through collective funds and Thomas's brokerage. This effort culminated in the establishment of the in 1876, a 56,600-acre tract in present-day Swain and Jackson Counties, initially held in but confirmed by in 1889 as a protected homeland. Federal acknowledgment solidified in 1924 when the U.S. government placed the Boundary in trust, affirming the Eastern Band's and distinguishing it from the western by its unbroken eastern continuity. By the early 20th century, the Band numbered around 2,000 enrolled members, governed by traditional councils evolving into a modern tribal structure while retaining cultural practices suppressed during removal.

Development and Evolution

Inception and 1950 Premiere

The Cherokee Historical Association, formed in the late 1940s by local business leaders to foster economic growth through cultural tourism on the lands of the , initiated the project to create an outdoor drama depicting . The association sought to capitalize on the scenic appeal of the and the tribe's heritage to draw visitors, commissioning a script focused on key events from pre-colonial times through the 19th century, including the . This effort aligned with broader post-World War II regional strategies to promote Appalachian attractions, similar to other historical pageants in the Southeast. Playwright Kermit Hunter, a student specializing in outdoor dramas under mentor Paul Green, was engaged to author the script after his 1949 draft won a submission contest sponsored by the association. Hunter's work, drawing from historical accounts of Cherokee-European interactions, emphasized themes of resilience and loss, with a runtime exceeding two hours and roles intended for Cherokee performers to ensure cultural elements like dances and language. The Mountainside Theatre, a 2,000-seat open-air amphitheater built specifically for the production on association land near the Oconaluftee River, featured natural hillside seating and stage effects to evoke the dramatic landscape. Unto These Hills premiered on July 1, 1950, under the direction of the association, marking one of the earliest sustained outdoor historical dramas in the United States and immediately boosting local tourism with sold-out initial performances. The opening drew regional audiences and media attention, praised for its and emotional depth, though produced under white-led oversight that prioritized economic viability over full tribal consultation at . By the end of the 1950 season, it had established a summer staple, running nightly except Sundays and generating revenue that funded further tribal infrastructure like the adjacent Oconaluftee Indian Village.

Major Revisions and Updates

In 2006, the Historical Association undertook a comprehensive overhaul of Unto These Hills, prompted by declining attendance and a desire for greater cultural authenticity, funded by revenues from the tribe's Casino. The revisions included a new script authored by playwright Hanay Geiogamah, which restructured the narrative to align more closely with Native American storytelling traditions, emphasized perspectives, and incorporated additional historical details on pre-colonial life and internal tribal dynamics. Production changes encompassed a predominantly cast, new choreography, redesigned sets, and updated costumes to reflect traditional attire more accurately, resulting in the retitled version Unto These Hills... a Retelling. These modifications boosted attendance by approximately 50% in the debut season, reaching over 50,000 visitors, though critics noted divided opinions on the script's pacing and fidelity to the original's dramatic structure. The 2006 script remained in use through the early 2010s amid ongoing adjustments for profitability and historical precision, including minor scene expansions on Cherokee resistance during removal. By 2015, facing persistent attendance challenges and community feedback favoring the foundational narrative, the production reverted to Kermit Hunter's original 1950 script as the core framework. This return, fully implemented by the 2017 season, restored key elements like the epic scope and biblical undertones of the Hunter version while permitting targeted updates, such as modernized language to eliminate dated phrasing and enhanced depictions of Cherokee agency in post-Trail of Tears reconstitution. For the 75th anniversary season in 2025, further refinements focused on technical enhancements, including improved lighting and sound systems at the Mountainside Theatre, alongside script tweaks to incorporate recent archaeological findings on Eastern Band Cherokee continuity, without altering the Hunter base. These updates aimed to balance historical fidelity with contemporary audience engagement, sustaining the drama's role in cultural preservation.

Recent Milestones and 2025 Anniversary

In response to the , "Unto These Hills" canceled its entire 2020 season, marking the first such interruption since its 1950 premiere. Performances resumed the following year and proceeded annually through 2024, adapting to health protocols while maintaining the outdoor format at Mountainside Theatre. The 2025 season commemorated the production's 75th anniversary, highlighting its endurance as the third-oldest outdoor drama in the United States. Running from May 31 to August 23, the shows occurred nightly except Sundays, with gates opening at 7:00 p.m. and performances starting at 8:00 p.m. Special anniversary offerings included a VIP package for enhanced viewing experiences. Tickets went on sale in November 2024, drawing audiences to witness the narrative under the stars. The season concluded on August 23, with announcements for 2026 forthcoming via official channels.

Reception and Legacy

Audience Attendance and Economic Impact

"Unto These Hills" premiered on July 1, 1950, drawing 100,000 visitors in its inaugural season to the Mountainside Theatre in . Over its 75 years of operation through 2025, the outdoor drama has attracted more than 6.5 million attendees, establishing it as a cornerstone of regional . Annual attendance has varied, with the 2025 75th anniversary season welcoming over 21,000 patrons from 48 states before closing in August. Revisions, such as those in 2006, have periodically boosted ticket sales and audience numbers amid competition from other entertainments. The production has employed over 4,000 actors and technicians since its inception, contributing to local job creation within the ' community. Ticket sales have injected well over $1 million into the local economy, supporting infrastructure improvements by the Cherokee Historical Association, though direct income gains for individual have been limited compared to broader benefits. As one of four principal cultural attractions in , it drives visitor traffic that bolsters the area's sector, part of Western North Carolina's economy valued at $2.39 billion annually and sustaining over 21,000 jobs regionally. The drama's role in post-World War II highlighted the value of heritage to non-Native residents, fostering sustained in Native-led initiatives.

Critical Assessments

Critics have praised Unto These Hills for its dramatic and role in preserving narratives through outdoor theater, with reviewers noting its emotional impact and integration of performers in revisions. The production's amphitheater setting amid the Smoky Mountains enhances its immersive quality, drawing comparisons to epic historical pageants that blend live action with natural landscapes. Attendance figures, peaking at over 250,000 annually in the mid-20th century, underscore its theatrical success as America's largest outdoor drama by the . However, scholarly analyses have critiqued the original 1950 script by non- playwright Kermit Hunter for mythologizing Cherokee history, portraying events like the in a romanticized, heroic framework that prioritizes narrative drama over empirical detail. Hunter's epic style, influenced by Southern historical dramas, emphasized individual leaders like Tsali while simplifying complex tribal dynamics and internal divisions, leading to accusations of cultural appropriation by the Cherokee Historical Association's initial white-dominated . A 2005 rewrite, prompted by declining attendance and community input, aimed to address these issues by incorporating more Cherokee voices and correcting anachronisms, though some historians argue residual romanticism persists in depicting resistance as unified rather than factional. Broader critiques frame the drama within "salvage tourism," where Indigenous stories are staged for economic gain, potentially commodifying trauma like removal-era suffering without fully reckoning with colonial causation or post-removal agency. Academic works highlight how early versions reinforced stereotypes of passive victimhood, contrasting with Cherokee-led oral traditions that emphasize resilience and adaptation. Despite revisions increasing Cherokee authorship to over 90% by 2006, critics note ongoing tensions between artistic license and historical fidelity, with the play's tourism-driven model sometimes prioritizing spectacle over rigorous sourcing from tribal archives. These assessments reflect a shift from external dramatization to internal reclamation, yet underscore persistent debates on authenticity in cultural performance.

Cultural and Educational Significance

Unto These Hills functions as a cornerstone of cultural preservation by dramatizing the Eastern Band's history from initial European contact through the and subsequent reconstitution, incorporating authentic music, dance, and narrative traditions that sustain indigenous performative arts. Performed primarily by Eastern Band members in an open-air amphitheater, the production cultivates communal pride and intergenerational transmission of heritage, portraying themes of endurance and self-determination that bolster tribal identity amid historical adversity. On the educational front, the drama has reached over six million visitors since 1950, delivering an immersive depiction of Cherokee experiences that supplements formal curricula with vivid, experiential insights into underrepresented indigenous histories and human rights struggles. This format, distinct from conventional schooling, promotes deeper comprehension of cultural resilience, as evidenced by audience reflections on its role in broadening historical awareness.

Controversies and Critiques

Debates on Historical Accuracy

The original script of Unto These Hills, authored by non-Native playwright Kermit Hunter and premiered on July 1, 1950, drew early critiques for prioritizing dramatic appeal over factual fidelity, including invented elements such as a guide accompanying and depictions of attire incorporating Plains Indian feathered cloaks not authentic to the Southeast. Hunter himself acknowledged modifications to heighten emotional tension and box-office viability, such as amplifying stereotypes like in dialogue, which deviated from documented cultural norms. Historians have further argued that the play mythologized by framing it through a lens of inevitable tragedy and white-European centrality, marginalizing intra-Cherokee agency and complexities in favor of a simplified narrative suited to mid-20th-century audiences. Specific portrayals, such as that of Tsali—a figure central to the drama's depiction of resistance to removal—exemplified these issues; the original script cast him as a invoking "" before execution, despite historical evidence indicating Tsali's non-Christian status and his family's exemption from the via U.S. citizenship granted in 1866. Cherokee community members expressed resentment over such elements, viewing them as perpetuating exploitation under white-controlled production by the Historical Association, including limited Native casting (with white actors in redface) and exclusionary practices like segregated facilities into the 1970s. In response to these longstanding concerns, compounded by declining attendance from a peak of 130,000 in the 1970s to 60,000 by 2005, the initiated major revisions starting in 2005, funded by $1.5 million from casino revenues, to enhance historical accuracy and cultural authenticity. The overhaul involved Native American playwrights like Hanay Geiogamah, consultations with tribal historians, and a shift to predominantly Cherokee casting (37 of 54 actors in the 2006 version), with script changes emphasizing Cherokee perspectives, such as as narrator and corrected details on Tsali's citizenship-based survival. Subsequent iterations in 2007 and 2008 by writers including Pat Allee, Ben Hurst, and Linda West further refined these elements, though some critiques persisted regarding tonal shifts toward caricature; overall, the revisions marked a reclamation of narrative control by the , reducing earlier inaccuracies while balancing educational aims against tourist expectations. Post-revision debates have centered less on factual errors and more on the tension between unvarnished historical rigor and performative accessibility, with no major systemic challenges reported since.

Perspectives on Cultural Authenticity and Bias

The outdoor drama Unto These Hills, originally scripted in 1949 by non-Cherokee Kermit Hunter and premiered in 1950, has faced critiques for cultural appropriation, as it was commissioned by local interests to attract tourists to , thereby framing through a shaped by white perspectives. Academic analyses, such as Heather Whittaker's 2010 thesis, argue that the initial production contributed to the appropriation of Native American history by non-Natives, mythologizing events like the to emphasize tragedy and triumph in ways that aligned with mid-20th-century tourism demands rather than unfiltered oral traditions. This perspective highlights how the play's early versions portrayed figures like Tsali in romanticized, externally imposed roles, potentially diluting indigenous agency. In response to such concerns, the Cherokee Historical Association (CHA), operated by the , undertook significant revisions starting in 2005 to enhance cultural authenticity, including a full script rewrite by Cherokee scholars and increased incorporation of the , with recent productions featuring more native dialogue than prior iterations. These changes aimed to reclaim narrative control, emphasizing EBCI perspectives on historical events and employing primarily Cherokee cast members—over 100 in performances—to ensure portrayals reflect lived cultural continuity rather than outsider interpretations. Proponents within the EBCI view these updates as restorative, transforming the drama into a tool for cultural preservation and economic , with attendance figures underscoring its role in sustaining tribal heritage amid tourism. Persistent debates center on whether revisions fully mitigate biases inherent in the drama's theatrical format, which condenses complex from pre-contact eras to the 19th-century removals into a two-hour , potentially prioritizing dramatic appeal over nuanced historical . Critics contend that even updated versions retain elements of mythologization, such as heroic framing of resistance figures, which may serve contemporary identity-building but overlook internal tribal divisions or adaptive strategies during removal. Conversely, EBCI-led scholarship and production notes assert that the play's evolution aligns with oral traditions, countering earlier inaccuracies like anachronistic depictions, and functions as a counter-narrative to mainstream histories that marginalize resilience. These perspectives underscore tensions between authenticity as tribal self-representation and external academic scrutiny, often influenced by broader institutional biases favoring deconstruction of .

References

  1. https://visitcherokeenc.com/play/attractions/unto-these-hills-outdoor-drama/
  2. https://cherokeehistorical.org/attractions/unto-these-hills/
  3. https://www.smliv.com/arts/kermit-hunter-outdoor-dramas/
  4. https://www.thesylvaherald.com/history/article_a8316722-6c83-11e7-84bf-0389a8e6a01c.html
  5. https://www.ebsco.com/research-starters/history/unto-these-hills-cherokee-historical-drama
  6. https://www.blueridgeheritage.com/destinations/unto-these-hills/
  7. https://cherokeehistorical.org/
  8. https://www.romanticasheville.com/unto_these_hills.htm
  9. https://digital.lib.ecu.edu/36971
  10. https://www.facebook.com/principalchiefmichellhicks/posts/tonight-we-celebrated-75-years-of-unto-these-hills-a-production-that-has-helped-/667032816317013/
  11. https://www.explorebrysoncity.com/listing/unto-these-hills-outdoor-drama/790/
  12. https://828newsnow.com/news/228822-review-unto-these-hills-is-a-powerful-showcase-of-cherokee-culture/
  13. https://www.facebook.com/VisitCherokeeNC/posts/dont-miss-your-final-opportunity-to-witness-this-landmark-performance-on-saturda/1159426349550271/
  14. https://www.tripadvisor.com/Attraction_Review-g49023-d1553373-Reviews-Unto_These_Hills-Cherokee_North_Carolina.html
  15. https://blueridgeheritagetrail.com/explore-a-trail-of-heritage-treasures/unto-these-hills/
  16. https://www.facebook.com/CherokeeAdventure/posts/announcing-the-cast-of-the-75th-anniversary-season-of-unto-these-hills-outdoor-d/1131282409029930/
  17. https://smokymountainnews.com/archives/item/13377-the-second-act-unto-these-hills-opens-with-a-new-look-that-aims-to-draw-big-crowds-and-give-a-more-authentic-account-of-cherokee-history-and-culture
  18. https://tma.byu.edu/cherokee-historical-association-is-casting-and-hiring-for-the-2023-season-of-unto-these-hills
  19. https://uncpress.org/9780807868751/unto-these-hills/
  20. https://www.researchgate.net/publication/281193838_A_Cherokee_Epic_Kermit_Hunter%27s_Unto_These_Hills_and_the_Mythologizing_of_Cherokee_History
  21. https://www.dncr.nc.gov/blog/2016/07/01/outdoor-drama-cherokee-revived
  22. https://ashevillegrit.com/unto-these-hills-history-and-memory-smoky-mountains-review
  23. https://828vibes.com/unto-these-hills-drama
  24. https://www.visitsmokies.org/unto-these-hills-shakes-a-nation/
  25. https://visitcherokeenc.com/locations/unto-these-hills-drama/
  26. https://www.blueridgeheritage.com/event/unto-these-hills/
  27. https://www.ncpedia.org/outdoor-dramas
  28. https://archive.carla.umn.edu/conferences/past/immersion2008/documents/Peter_L_CherokeeNation.pdf
  29. https://www.georgiaencyclopedia.org/articles/history-archaeology/cherokee-indians/
  30. https://americanindian.si.edu/nk360/removal-cherokee/early-history.html
  31. https://www.cherokeephoenix.org/education/the-cherokee-clan-system/article_a88fcc42-f3f8-5f33-b575-8cff7d3bffd2.html
  32. https://tennesseehistory.org/de-soto-east-tennessee-may-june-1540/
  33. https://www.blueridgeheritage.com/heritage/cherokee/cherokee-history/european-contact/
  34. https://www.nps.gov/articles/the-trail-of-tears-and-the-forced-relocation-of-the-cherokee-nation-teaching-with-historic-places.htm
  35. https://americanindian.si.edu/nk360/removal-cherokee/resisting-removal.html
  36. https://www.history.com/articles/john-ross-cherokee-chief-indian-removal
  37. https://www.georgiaencyclopedia.org/articles/history-archaeology/cherokee-removal/
  38. https://www.cherokeephoenix.org/culture/june-22-1839-a-bloody-day-in-cherokee-nation/article_6254b899-f25e-5f73-b23a-839e3b6ce00a.html
  39. https://www.cherokee.org/about-the-nation/history/
  40. https://www.cherokeephoenix.org/opinion/opinion-183-years-of-cherokee-unity-the-act-of-union/article_de1a473e-0484-11ed-b1fe-5bc7b730c1ce.html
  41. https://history.state.gov/milestones/1830-1860/indian-treaties
  42. https://collections.gilcrease.org/articles/article-life-and-times-principal-chief-john-ross
  43. https://www.thirteen.org/wnet/supremecourt/antebellum/landmark_cherokee.html
  44. https://www.oyez.org/cases/1789-1850/31us515
  45. https://education.nationalgeographic.org/resource/indian-removal-act-and-trail-tears/
  46. https://www.nps.gov/trte/learn/historyculture/what-happened-on-the-trail-of-tears.htm
  47. https://www.nps.gov/fosm/learn/historyculture/storiestrailoftears.htm
  48. https://www.nicoa.org/profile-eastern-band-of-cherokee-indians/
  49. https://www.nps.gov/grsm/learn/historyculture/cherokee.htm
  50. https://www.dncr.nc.gov/blog/2016/11/01/cherokee-indian-tsali-was-captured
  51. https://www.dncr.nc.gov/blog/2024/01/23/tsali-q-3
  52. https://www.ncpedia.org/biography/yonaguska
  53. https://www.dncr.nc.gov/blog/2024/01/23/yonaguska-ca-1760-1839-q-12
  54. https://www.ncpedia.org/qualla-boundary
  55. https://www.thesylvaherald.com/history/article_b56a35a2-8d35-11e9-a6c8-bf7b7a6f94fc.html
  56. https://visitcherokeenc.com/about-us/
  57. https://www.bia.gov/as-ia/opa/online-press-release/cherokee-historical-association-receives-interiors-public-service
  58. https://digitalcollections.library.appstate.edu/s/bennett/page/cherokee
  59. https://digital.lib.ecu.edu/34037
  60. https://smokymountainnews.com/archives/item/13949-unto-these-hills-gets-a-facelift-changes-to-include-script-rewrite-more-cherokee-actors-better-marketing-plans-and-more-community-involvement
  61. https://smokymountainnews.com/archives/item/13126-scene-changes-revised-unto-these-hills-garners-bigger-audiences-and-mixed-reviews
  62. https://cherokeepreservation.org/wp-content/uploads/2014/03/gadugi-2006.pdf
  63. https://www.carolinacountry.com/story/outdoor-dramas-bring-history-to-life
  64. https://828newsnow.com/news/228822-unto-these-hills-celebrates-75-years-of-telling-cherokee-history-through-outdoor-theatre/
  65. https://www.citizen-times.com/story/news/local/2020/03/12/coronavirus-event-cancellations-asheville-wnc-covid-19-canceled/5035919002/
  66. https://www.facebook.com/events/688-drama-rd-cherokee-nc-28719-united-states/unto-these-hills-75th-anniversary-season/1635590017033548/
  67. https://828vibes.com/celebrating-75-years-of-unto-these-hills-in-2025
  68. https://www.instagram.com/p/DJo2Vg7olOy/
  69. https://www.instagram.com/p/DKNATSjNXPv/?hl=en
  70. https://www.facebook.com/CherokeeAdventure/posts/exciting-news-tickets-for-our-2025-season-are-on-sale-nowget-your-tickets-to-the/999539012204271/
  71. https://www.facebook.com/photo.php?fbid=1212588710899299&id=100064445449528&set=a.628076632683846
  72. https://www.facebook.com/CherokeeAdventure/posts/the-75th-anniversary-season-of-unto-these-hills-outdoor-drama-closes-in-just-two/1199951095496394/
  73. https://www.facebook.com/CherokeeAdventure/posts/thank-you-to-everyone-who-celebrated-the-75th-anniversary-season-of-unto-these-h/1213668500791320/
  74. https://www.facebook.com/CherokeeAdventure/posts/over-4000-actors-and-technicians-have-worked-at-unto-these-hills-outdoor-drama-s/1162837659207738/
  75. https://cherokeepreservation.org/economic-development/tourism/
  76. https://www.thesylvaherald.com/news/article_a5e56964-ebf8-11e3-b8cf-001a4bcf6878.html
  77. https://www.ncpedia.org/anchor/more-tourism-cherokee-north
  78. https://www.wsj.com/articles/SB118368183178258672
  79. https://openscholar.uga.edu/record/7076/files/whittaker_heather_l_201008_ma.pdf
  80. https://utppublishing.com/doi/pdf/10.3138/md-65-2-br6?download=true
  81. https://www.h-net.org/reviews/showrev.php?id=49230
  82. https://core.ac.uk/download/pdf/210599802.pdf
  83. https://open.clemson.edu/all_theses/3897/
  84. https://cherokeehistorical.org/about/
  85. https://www.goupstate.com/story/news/2008/07/10/unto-these-hills-wowing-another-generation/29455771007/
  86. https://www.fodors.com/community/united-states/cherokee-unto-these-hills-628532/
  87. https://smokymountainnews.com/archives/item/13886-time-for-change-at-cherokee-s-unto-these-hills
  88. https://www.facebook.com/CherokeeAdventure/posts/were-back-with-another-tidbit-tuesday-for-you-today-were-addressing-a-common-que/1157398706418300/
  89. https://www.thesylvaherald.com/columns/liars_bench_-_gary_carden/article_240208a0-7dfb-11e3-86e5-0019bb30f31a.html
Add your contribution
Related Hubs
User Avatar
No comments yet.