While puppetry might be dismissed as niche or experimental, Rhiannon Elsden explains how a workshop transformed her understanding and appreciation of the artform and its potential power in the curriculum.
Whoosh. The doors open to a double decker bus in Wybourne Primary School's playground to reveal an intriguing woman in tan cadet overalls, holding her right arm across her body by her heart, standing to attention.
‘Team! Thanks so much for joining me today on this rainy Tuesday morning. I am in desperate need of your help. Come in, come in! Let's see what we can do,’ she says, eyes gleaming with excitement. A cluster of four-year-olds and their teacher shuttle in. Inside the bus is an amalgamation of glowing buttons, switches, cogs and dials – a spaceship that puts even Doctor Who's TARDIS to shame.
When picking workshops for students, teachers often go down the route of physical theatre or devising. Recently, my school broke that tradition, and the Head of Drama plumped for puppetry instead.
This choice was fresh for all. For the new GCSE Drama group in their first week, it felt especially bold – particularly as the workshop began with the students retreating into silence. Had it failed? Were they struggling to connect with each other, or with the workshop? Not a bit of it! Stop and watch, and the truth and success of the venture was revealed. There was great energy, focus, cooperation, communication and huge enjoyment in the room, extending from the students into the simple puppets they used.
The power of puppets
After the success of the event, I approached the workshop leader, Little Angel Theatre company's Alice Bravery, and asked her why puppetry works so well for students. ‘The puppeteer isn't just performing for the audience: they are engaging with them, creating a two-way dialogue that's more active than in other forms of theatre,’ she explains. ‘For children, this is empowering. They have a chance to engage, respond, and sometimes even influence the action, which offers a sense of autonomy in a world where adults often make the decisions.’
Storytelling through play
Of course, children will often be exposed to puppets and puppetry from an early age – with their first toys, for example. In primary schools, the seemingly simple puppet characters are used by teachers as conduits for imagination, inviting children to explore complex feelings, learn empathy, and understand social dynamics in a safe and enjoyable way.
‘Puppetry is a highly visual form of storytelling, which makes it particularly accessible to children who may struggle to engage with purely verbal narratives. Puppetry taps into the imagination in a way that's both captivating and magical,’ says Alice.
Move to the mainstream
I realised from this experience of letting students experiment with puppets and having their own go at puppeteering that puppetry should not be left as just a ‘niche option’ for GCSE Drama students, which I recognise now I had unfairly labelled it. Indeed, I realise it shouldn't be left until KS4 to be explored within a drama curriculum. As Alice says: ‘puppetry's impact on a student's broader understanding of drama can be profound. Learning about puppetry introduces students to a rich variety of theatrical traditions and cultural practices from around the world. It encourages visual storytelling, movement, and character creation, all of which are key elements of any drama education’.
Beyond fostering a passion for using puppets within their own work, Alice also talks about the all-round benefits puppetry holds for students ‘For those who might be nervous about performing in front of an audience, puppetry allows them to focus on the puppet rather than themselves, giving them a safe space to express creativity without the pressure of being the focus of the audience's attention,’ she says. Usefully, puppetry can also be a powerful devising tool, encouraging students to think outside the box and approach storytelling from new angles.
Puppetry as profession
National and international productions have increased interest in the medium, proving puppetry is not just a children's art form, but also a tool for telling emotionally resonant and complex stories to wider audiences.
Little Angel Theatre is proud to be part of the wave of interest, having been at the forefront of puppetry innovation for over six decades, with its educational programme aiming to nurture the next generation of puppeteers, designers, and directors, providing them with the tools to explore this exciting, dynamic art form.
Top tips
What advice would Alice give to students and their teachers if they're wanting to explore puppetry? ‘Start by watching as much of it as you can – whether that's on stage, screen or online,’ she says. ‘And attend as many workshops as you can. Experimentation is key. Don't be afraid to try out different techniques and materials. You don't need expensive or complex puppets to create compelling work. Some of the most memorable performances are made with the simplest of objects. What matters is the connection you make with the object and the audience.’
There are many other companies offering workshops, experiences, TIE performances and schemes of work. Puppetry is certainly a rich source to be tapped into and included in the drama curriculum.