How is fundamentalism affecting our government?

The Rapture Project - a political puppet show by Great Small Works

You are cordially invited to Great Small Works' newest prodution, THE RAPTURE
PROJECT, a serio-comic look at fundamentalism in current American culture
and politics:

HERE ARTS CENTER 145 Sixth Ave (btwn Spring and Broome) box office 212 352 3101
JANUARY 4 - 21
Thurs - Sat at 7pm
Special Late Show Sat at 10:30 pm *pay what you can night with cash at the door
Sunday at 2pm

We created this show for you: people who take special notice and express outrage and resistance at the growing fundamentalist influence on our government and our lives. Great Small Works productions seek to renew, cultivate and
strengthen the spirits of their audiences, promoting theater as a model for participating in democracy.

With this show we hope to give you a lift and a laugh as well as to engage these issues in a new arena, the stage, where a colorful cast of puppets, performers, and musicians play out fundamentalism to its absurdist limits.

Alternately ridiculous and terrifying, The Rapture Project brings together tabloid stories from the daily news, in-depth accounts of current American synergies of religion and politics, the popular literature of The End Times, nineteenth-century Sicilian puppet theater, 1920s fundamentalist iconography, design inspirations from the sixties
psychedelic troupe the Cockettes, and original music by composer and saxophonist Jessica Lurie, in an epic spectacle following an unlikely cast of characters from the USA to the Plains


Great Small Works


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"When a religion is good, I conceive it will support itself; and when it does not support itself, and God does not take care to support it so that its professors are obliged to call for help of the civil power, 'tis a sign, I apprehend, of its being a bad one."


— -- Benjamin Franklin, letter to Richard Price, October 9, 1780, quoted from Adrienne Koch, ed., The American Enlightenment: The Shaping of the American Experiment and a Free Society, New York: George Braziller, 1965, p. 93.


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