The Physical Art of Belief: Life as an International Puppeteer

Theatre, Film and Interactive Media graduate, Alice Bravery (Writing, Directing and Performance, 2014), discusses how York prepared her for a specialist career in international puppetry. From student life in Constantine College to touring large-scale productions across China and the US, Alice’s experience demonstrates a non-linear career path and the unique rewards of creating theatre for young audiences around the world.

When did you first realise puppetry was something you wanted to pursue seriously?

“I’ve always loved puppetry. Seeing the National Theatre’s War Horse as a teenager was a formative experience, but at the time I didn’t consider it a viable career path. That changed later when I worked as a producer supporting puppetry projects with artists who had been involved in War Horse. It was a real lightbulb moment – I realised this was something I desperately wanted to do myself. The impact of War Horse on the industry has been huge, reshaping how puppetry is used well beyond theatre for young audiences and creating far more opportunities across the sector.”

Looking back, what aspects of your time at York had the biggest influence on the performer and theatre-maker you are today?

“The multi-skill approach of the Writing, Directing and Performing course at TFTV has served me well professionally. Versatility is essential in such a competitive industry, and having multiple strings to my bow has meant I’ve been able to work consistently since graduating – whether that’s acting, directing, producing, teaching or project management. Creatively, it’s made me a more self-sufficient theatre-maker. I love working in ensembles and creating work from scratch, and in low-budget contexts it really helps to be a performer who can also contribute to writing, production management, or practical elements like set and prop building – all of which I touched upon at York.”

Were there any particular modules, productions, or tutors that helped shape your interest in puppetry and theatre for young audiences?

“To be honest, puppetry and theatre for young audiences weren’t really covered during my course. The closest we came was working with Lecoq-trained tutors on movement and mask, which was one of my favourite experiences. Puppetry and TYA are still often overlooked academically, with a perception that work for children is somehow easier or less rigorous. I strongly disagree – children are some of the most discerning audiences, and getting it right often requires even greater clarity and skill. I hope there’s now more space for students to explore these forms as a vital and respected part of the industry.”

How did York’s experimental environment help you explore creative forms beyond traditional acting?

“Across the three years at TFTV I explored directing, writing, stage design and construction, as well as film and television theory and practice. That breadth helped me see myself as a creative practitioner with a varied skillset, and it’s also shaped how I collaborate – having a better understanding of the pressures and priorities of different roles makes me a stronger team member.”

Did you take part in any extra-curricular theatre at York?

“I didn’t take full advantage of York’s theatre societies, largely because of the high contact and practical hours on the course. If I had my time again, I’d definitely get involved more.”

“What truly brings the dinosaurs to life is emotional clarity. We focus on breath, rhythm, weight and intention, much like building a human character. If the puppeteer believes, the audience will too.”

What did specialist puppetry training add that you hadn’t encountered before?

“While anyone can be a puppeteer and anything can be a puppet, puppetry is a highly skilled discipline that requires rigorous training – much like learning an instrument or training in dance. Specialist training teaches the principles of puppetry, how to experiment with them, and how to work safely in what is an extremely physical form of performance. There’s now a much greater recognition of puppeteers as performers who are effectively athletes, and training reflects that shift. In a competitive industry, having a specialist skill is also invaluable. Training at Curious was transformative – it’s internationally respected, taught by leading professionals, and its alumni are overwhelmingly working full-time in the field.”

Was the transition from university into the professional theatre world straightforward?

“Not at all. My path after university wasn’t linear, and I didn’t immediately book an agent or start making my own work. It took time, persistence and resilience to navigate rejection, but that process ultimately made me more adaptable and robust as an artist.”

What did your early post-graduation years really look like?

“They involved a lot of closed doors and learning not to be disheartened. I’m from Jersey originally, which doesn’t have the same access to opportunities as a major city, so I worked as a project assistant for a small arts charity and absorbed as much as I could. That period gave me valuable experience in producing and project management, before I eventually returned to my own creative practice and retrained as a puppeteer. Each stage opened doors in unexpected ways.”

What drew you to theatre for young audiences?

“TYA initially found me through my puppetry skills, but after working in the field for four years I can honestly say it’s a niche I love. Working with young people is both a privilege and a challenge, and the quality of work being made in this sector is exceptional. Children are honest audiences – if they’re bored, you’ll know. Performing for them keeps your ego in check, demands clarity, and is incredibly rewarding.”

How do your different roles at Little Angel Theatre complement one another?

“Wearing multiple hats is both challenging and beneficial. It’s especially useful when managing teams, as I understand first-hand what different roles require. Switching between tasks takes practice, but over time you learn how to pace yourself and manage the different mental and physical demands of each role.”

What surprises people most about puppetry as a profession?

“How physically demanding it is. A good puppeteer does extremely challenging work while making it look effortless – the moment the effort becomes visible, focus shifts away from the puppet. We often say “puppetry can be pain,” and that’s very true. I’ve done jobs where I’ve carried puppets weighing up to 70kg while performing in extreme heat, using intense vocal work, and simultaneously tracked cues, blocking and fellow performers’ safety. People are often shocked by the level of multitasking when they see what’s happening behind the scenes.”

How does performing for children differ from performing for adults?

“Children have uncensored imaginations and a generosity with storytelling that adults often lose. Adults bring expectations and scepticism; children are freer to believe and to break rules. One of my favourite things is seeing adults surprised by how invested they become – rediscovering their imaginations alongside their children.”

How has your time been living and working in America?

“It’s been intense, exhilarating and immersive. Touring at this scale across the US is demanding, but it’s also been an incredible opportunity to perform for diverse audiences and experience a different theatre culture. It’s pushed me both professionally and personally.”

What’s been the most memorable moment on tour so far?

“This is my second tour of the show, Dinosaur World Live, having previously toured China in 2025, and each tour brings unforgettable moments. Seeing children – especially first-time theatre-goers – respond with genuine awe and belief never gets old.”

How do you bring such large-scale creatures to life emotionally as well as physically?

“The physical and technical work is only part of it. What truly brings the dinosaurs to life is emotional clarity. We focus on breath, rhythm, weight and intention, much like building a human character. If the puppeteer believes, the audience will too.”

What would you say to someone who loves theatre but doesn’t see a “traditional” role that fits them?

“The industry is far bigger and more varied than it often appears. Not fitting neatly into a box can be a strength – some of the most interesting careers come from combining skills, following curiosity, and staying open to unexpected paths.”

What skills should students develop alongside their degree?

“Adaptability, collaboration and resilience are just as important as creative skill. Learning to communicate well, manage your time, and look after your physical and mental health is essential. Practically, a broad skill set can open many doors.”

What advice would you give recent graduates unsure how to take their first step?

“Be patient and don’t expect a straight line – most careers aren’t. Say yes to opportunities that allow you to learn, even if they don’t look like your dream job at first. Build relationships, stay curious, and remember that persistence is often as important as talent.”