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Playbill graphic for "Jacob's House"

The earth also was corrupt before God, and the earth was filled with violence. And God looked upon the earth, and, behold, it was corrupt; for all flesh had corrupted his way upon the earth. And God said unto Noah, The end of all flesh is come before me; for the earth is filled with violence through them; and, behold, I will destroy them with the earth…. And, behold, I, even I, do bring a flood of waters upon the earth, to destroy all flesh, wherein is the breath of life. — Genesis 6: 11-13, 17

A Klee drawing named “Angelus Novus” shows an angel looking as though he is about to move away from something he is fixedly contemplating.  His eyes are staring, his mouth is open, his wings are spread.  This is how one pictures the angel of history.  His face is turned toward the past.  Where we perceive a chain of events, he sees one single catastrophe that keeps piling ruin upon ruin and hurls it in front of his feet.  The angel would like to stay, awaken the dead, and make whole what has been smashed.  But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.  The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress. — Walter Benjamin

Hey kids, 2012 is just around the corner, and after a dry, post-Y2K decade, Biblical metaphors are back in style, flooding the stage (as it were) at the same time the Tennessee Valley is being flooded by a real, not metaphorical flood. Two productions up now, Noah’s Arkansas and Jacob’s House use these metaphors to explore the Great American Love Affair with Apocalypse.

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