The intersection of faith and state often creates the most friction during times of global conflict. In Iowa, this tension is being explored through a unique theatrical lens in Coop, a Story of An Amish Conscientious Objector, a solo production that delves into the overlooked struggles of peace-church adherents during the World Wars. The play, written by former Iowa Poet Laureate Mary Swander, is scheduled for two regional performances this April, offering a glimpse into a clandestine chapter of American history.
The production centers on the oral history of a young Amish farmer who, along with other conscientious objectors (C.O.s) including Quakers, Mennonites, and Seventh Day Adventists, was draftee during World War II. Whereas the men were initially told they would be deployed to fight forest fires in Colorado, they were instead interned under guard in a chicken coop for the remainder of the war. This narrative serves as the emotional core of a larger exploration into how the U.S. Military and civilian populations treated those who refused to bear arms on religious grounds.
The performances are free and open to the public. The first will take place on Sunday, April 19, at 2 p.m. At the German American Heritage Center in Davenport. The second performance is scheduled for Tuesday, April 21, at noon at Muscatine Community College’s Bob Roach Little Theatre.
The Mechanics of Object Theatre
Unlike traditional dramas, Coop utilizes “object theatre” to convey its narrative. Performed by Rip Russell, the show is staged on a table where everyday items—such as traffic cones, balloons, clothespins, and dusters—serve as stand-ins for characters. This minimalist approach allows the audience to focus on the pantomime and the atmospheric narration, which is augmented by sound effects, music, and archival newsreels.
To ground the performance in the specific cultural heritage of the region, the production features recorded a cappella hymns performed by a quartet of Kalona Mennonites. These hymns, delivered in the Anabaptist tradition, provide a sonic bridge between the historical trauma of the internment and the enduring faith of the peace churches.
A Decade of Research into Peace Churches
The script is the result of ten years of rigorous research by Mary Swander. Her process began with an immersion into the theology and values of the “peace churches”—denominations that maintain a pacifist stance based on biblical interpretation. Swander supplemented this with a study of the historical contexts of both World War I and World War II, eventually tracking down written and oral histories of those who resisted the draft.
The project gained significant momentum through community engagement in Kalona, Iowa, a hub for Amish and Mennonite populations. Local residents provided Swander with family photos, pamphlets on C.O. Status, and records of alternative service in nursing homes and hospitals. These primary sources revealed a spectrum of treatment: while some objectors were treated with respect, others faced severe persecution.
One such account detailed a World War I conscientious objector who was subjected to waterboarding at Camp Dodge near Des Moines. The situation only resolved after the man wrote to the Secretary of War, Newton Baker, who subsequently appeared at the camp to halt the torture. These accounts highlight the vulnerability of the Amish and Mennonite populations, who were often targeted not only for their pacifism but also for their fluency in the German language, which led to suspicions of disloyalty during the wars.
Timeline of Key Performance Dates
| Date | Time | Location |
|---|---|---|
| Sunday, April 19 | 2:00 p.m. | German American Heritage Center, Davenport, IA |
| Tuesday, April 21 | 12:00 p.m. | Bob Roach Little Theatre, Muscatine Community College, IA |
The Broader Historical Context
The play seeks to draw a parallel between the well-documented internment of Japanese-Americans and the less-discussed detention of conscientious objectors. By focusing on the “lawless mistreatment” and the subsequent “miracle of forgiveness,” as described by author Linda Egenes, the function examines the psychological toll of being perceived as an enemy within one’s own borders.
The narrative underscores the irony of the “naïve” label often applied to rural Amish farmers. While the military viewed their isolation as a lack of awareness regarding the war effort, the play presents their refusal to kill as a sophisticated, principled stand rooted in centuries of tradition. This tension between perceived simplicity and moral conviction is what drives the drama’s emotional arc.
The production has already garnered praise from cultural critics for its ability to balance seriousness with a sense of artfulness. By transforming a table of household objects into a site of historical reckoning, the play makes the abstract concept of “conscientious objection” tangible for a modern audience.
For those seeking further details or updates on the production, information is available through the official site at MarySwander.com/coop.
Following the April performances, the production continues to serve as a catalyst for the recovery of family memories, as seen during a December 2024 preview at the Hillcrest School (formerly the Iowa Mennonite School), where more descendants of objectors came forward to share their ancestral histories.
We invite readers to share their thoughts or family histories regarding conscientious objection in the comments below.
