Following the immensely successful premiere of Maurice Bouchor and Paul Vidal’s Noël, ou le Mystère de la Nativité at Paris’s Petit-Théâtre de la Marionnette in 1890, numerous critics observed an increasing fondness for religiously themed theatrical productions on the city’s popular stages. Though these works have received scant musicological attention, scholars often credit the success of these works to the rise of Symbolism during the 1880s, citing the Symbolists’ fondness for the realm of the metaphysical as a step toward a universally spiritual world that could be revealed only through non-representational signs. Contemporaneous reception of these works, however, suggests that audiences understood them not as exemplars of a burgeoning aesthetic movement, replete with idealistic suggestion, but rather as a nostalgic return to the Catholicism of their youth, regardless of—and likely despite—their skepticism of the Church as an institution. This chapter provides new readings of Maurice Bouchor and Casimir Baille’s Tobie and Bouchor and Paul Vidal’s Noël, ou le Mystère de la Nativité that reveals how Symbolism, as an interpretive framework, falls short of the musical and political complexities within these works. Through analyses of poetic texts, musical scores, and critical responses, this chapter examines the roles that such puppet productions played in the enfolding of Catholicism into the “secular” Republican mindset.