Bread and Puppet Theater Triumphs and Thrives Amid Uncertain Times | NPR

For decades, Bread and Puppet Theater has been a familiar sight to American peace activists, especially during demonstrations opposing U.S. military interventions. Towering white bird puppets, mounted on poles, soared above crowds protesting conflicts in Vietnam, Central America, Iraq, and Gaza. Performers paraded through streets donning oversized papier-mâché heads caricaturing figures like Uncle Sam, blending art with activism.

Established in 1963, this theater company has become synonymous with radical political expression, touring annually with its Fall Circus for over half a century. A unique tradition involves performers distributing freshly baked sourdough bread to audiences after each performance, symbolizing community and sustenance.

“Artists have the power to make revolution appealing,” says Abril Barajas, a puppeteer with a radiant smile. Recently turning 30, Barajas is one of 15 troupe members traveling to 33 cities across the U.S. with this year’s production, titled Our Domestic Resurrection Revolution In Progress.

Though the title may seem elaborate, Barajas explains that the company’s founder, 91-year-old Peter Schumann, delights in playful language. “Peter is deeply committed to revolution, and so are we,” she says with admiration. “He remains the director of every show and continues to be incredibly prolific. Our longevity owes much to the trust we place in his vision.”

Puppeteers costumed as horses engage in lively antics during Our Domestic Resurrection Revolution In Progress! in Ypsilanti, Mich.
Timothy Chen Allen
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Timothy Chen Allen

Drawing inspiration from 14th-century itinerant theater traditions, Bread and Puppet revitalizes medieval mystery plays with a modern twist. Their performances include a satirical retelling of the Biblical creation story alongside sharp political commentary targeting avaricious billionaires, championing American labor rights, and condemning Russia’s aggression in Ukraine. The 2025 production takes a firm pro-Palestinian stance, featuring a puppet draped in a black abaya mourning with a child-shaped shroud, while performers wave red poppy flags symbolizing Palestinian attachment to their homeland.

“We notice some audience members leave,” Barajas admits. “Others grasp the message and choose to walk away.”

However, Damien Mars did not turn his back. Attending with his partner and teenage daughter, he was among the hundreds applauding a recent outdoor show in Ypsilanti, Michigan.

“This was exactly what I needed,” he shared. “The constant barrage of distressing news has been overwhelming. Being here feels like a release.”

The troupe hopes this emotional release will inspire activism. Yet, Barajas and her fellow radical artists are increasingly concerned about threats to their freedom of expression.

“We’re navigating how to continue our work while safeguarding the principles we stand for,” she explains. “It’s a delicate balance, but the mission is too vital to abandon.”

Their core values include anti-capitalism, outspoken critique of U.S. foreign policy, and a revolutionary spirit reminiscent of the 1960s. This comes at a time when the White House has issued a memo associating domestic terrorism with ideologies such as anti-Americanism, anti-capitalism, and opposition to traditional American values on family, religion, and morality.

“Yes, there’s apprehension,” Barajas acknowledges. “We proceed cautiously, but courage means feeling fear and acting anyway.”

Ultimately, she reflects, puppetry endures as a storytelling medium, persisting even when physical stages vanish.