In the following paper, through the analysis of the Belgian performance L’Herbe de l’oubli, I examine how the elements of the theatre of figures (such as the manipulation of puppets) could respond to the challenges of documentary theatre. The performance of Point Zéro company (written and directed by Jean-Michel d’Hoop, premiered in 2018) discusses some elemental ethical and political questions about the use of nuclear power. It introduces the audience to the everyday life of families living in the extended zone of Chernobyl. The piece combines videography, puppets, and interview-fragments of the habitants from the contaminated areas. One of my goals is to raise attention to a production I find extremely important and to promote a theatrical genre, the intertwined figure-documentary theatre, that has endless possibilities and is not yet represented in Hungary.