By Carolyn Hayes Harmer

PuppetART: Detroit Puppet Theatre embarks on its 17th year of residence in Detroit, in a multipurpose space close to the opera house and the downtown YMCA. The company keeps the programming compelling with a different show each month, so there are already precious few remaining Saturdays to see this season’s opener, “Sleeping Beauty.” Directed by Igor Gozman, the classic fairy tale needs no words to tell its story, but strings along young and old viewers alike with expressive movement and lush design.

In this production, the puppets are marionettes, which dance an intricate and magical ballet. In a faraway kingdom, a princess is born, whereupon the royal court celebrates and a benevolent fairy bestows on the child a magical blessing. But another fairy, furious at having been excluded, vindictively curses the girl to prick her finger on a rose and die. Indeed, the prophecy comes true upon the princess’s 16th birthday, but the kind fairy mitigates the magic, softening the punishment to years of sleep.

In order to awaken her, some brave prince must fight his way past the evil fairy and her sentinels and give the princess a kiss. This version of the story takes pains to establish the character of the prince and finds a delightful way to explain and ready him for his quest.

To manipulate puppets in a believable fashion is one thing, and puppeteers Irina Baranovskaya and Nick Pobutsky have every lifelike head tilt and persuasive hand gesture down to a science. But making them dance is something else altogether. To watch the footwork and grace of these characters, which indeed eclipses that of many humans, is to appreciate exquisite artistry. The show glides through finely timed musical beats and scene changes, stirring interest with poignancies and surprises that elicit audible reactions from the more impressionable of the audience.

All of this takes place in an intimate 70-seat theater, on a stage-within-a-stage set in miniature – and to say that tiny movements effectively command little viewers’ attention is both accurate and testament to the company’s strengths. Baranovskaya’s production design is sweetly ornate, fastidiously detailed, and includes about a dozen unique puppets. Of these, the court jester and the fairies’ familiars are especially captivating, as the puppeteers work with the marionettes’ unusual body composures to explore the bounds of physicality. Moreover, the musical selections (compiled by Maria Mikheyenko) and copious lighting and special effects contribute to an experience that successfully conveys joy, lamentation, adventure and dollops of fright with nary a word.

The PuppetART experience not only includes the live show, but also gives patrons an opportunity to browse the puppet museum throughout the theater lobby and building. The exhibits include examples of puppet forms and styles from around the world, as well as complete production designs. For those inspired to learn the practice hands-on, the company offers a workshop at the conclusion of each show, in which children can learn the craft of puppet making and take their creations home. It’s hard to imagine a better or more inviting introduction to this ancient theatrical custom.