The use of dance in contemporary society has seriously gone beyond mere movement of the body and entertainment. Before now, parents and teachers in secondary and primary schools see the essence of dance as a mere form of recreation, relaxation and body flexibility amongst the pupils, thereby de-emphasizing the socio-communitive purpose of dance. However, from the scholarly research point of view, dance in children’s theatre was and still remains an indispensible tool in developing their sociological, psychological and religious co-existence amongst themselves in school. At this juncture, interpretative dance movements become a didactic tool in sensitizing the children from saying no to evil and embracing good deeds. In other to understand and achieve the sociological essence of dance in child’s development, a qualitative analysis will be carried out on (The Dancing Monster and Uzor) as a working metaphor. This paper, therefore, will critically look at the sociological potency of dance in children’s theatre.