The Coda revisits the book’s principal arguments about theatrical profanation while carrying these claims forward to the twentieth-century stage. It centers on Lee Breuer’s late opus La Divina Caricatura (2013), a theatrical adaptation of Dante’s Divine Comedy performed as a musical featuring Bunraku-style puppets. Breuer’s production metabolizes Dante’s theology and charges it with elements of the Sanskrit epic the Mahabharata as well as other world religious traditions, ostentatiously defiling sacred iconography. La Divina Caricatura instantiates the profaning theater discussed across the book, while moving beyond my twentieth-century case studies to imagine the life of the artist as a profane form of pilgrimage. This work affirms that religious narratives and practices in the theater do work as theater, producing effects on the spectator that develop on essentially artistic terms. It ends with a short account of the author’s own religious positionality.