Some of the greatest cultural events that I’ve witnessed have come via Vermont’s Bread & Puppet Theater. Its Washerwomen Cantata, performed throughout the late 1970s and early 1980s, was a revelation of lyrical theatricality wedded to heartfelt political hopes and dreams. Its large, weeklong Domestic Resurrection Circus events of the 1980s and 1990s were creative bacchanals, epic yet intimate; they were brought to a close when the happenings grew too large and Bread & Puppet founder Peter Schumann decided that enough was enough. Success was pulling him and the theater away from its roots.