Landon Krentz, Hayley Hudson, Ebony Rose, Ali Saeedi and Ralista Rodriguez in The Little Prince | Photo by Jae Yang
I have fond memories of the anime series from the late 70s, which was dubbed into English and aired here in the mid-80s. It wasn’t until much later, well into my teenage years, that I finally read Antoine de Saint-Exupéry’s book, which has held a special place in my heart ever since. Deaf artist Landon Krentz has crafted a wordless, visually stirring and highly gestural re-imagining with The Little Prince: A Physical Theatre Adaptation. Presented by Inside Out Theatre and Theatre Passe Muraille, this production feels both modest and expansive. Directed by Suchiththa Wickremesooriya, it is whimsical and deeply considered.
Krentz himself plays the titular little prince—a curious, adventuring rascal who hops from planet to planet in a quest to learn about life and better understand his own. Like the book, we open on the Young Aviator (Hayley Hudson), producing a series of drawings that nobody seems to understand. The audience here are stand-ins for the book’s closed-minded adults, unable to enjoy the whimsy of imagination. After folding a paper airplane, she flies it off into the background where it takes flight as a projected image on the vast stretch of translucent fabric.
This fabric, a stunning cyclorama, is the main feature of Adriana Bogaard’s set. A series of angular risers lead up to a massive portal that serves as entrance and exit, as well as providing a sort of negative space suggesting the various planetary forms the prince visits. That animated plane introduces a recurring motif of this production—the little prince bounding off through this circular gateway and becoming an animated version of himself, flying away through space, hitched to a flock of migrating birds. This charming image and a variety of fanciful cosmic landscapes are rendered in imagery designed by Alessio Convito (illustrations) and Christopher-Elizabeth (projections).
Many of the sad grown-ups, reduced to a singular function or fixation on these planets, are given contemporary context—like a Social Media Influencer (Ebony R. Gooden) in her bright outfits and performative routines, holding hostage the attentions of a whole planet of followers. My favourite performer here is Ralista Rodriguez in her role as the adult Aviator, whom the little prince befriends after she crashes her plane in the desert. Her large, lumbering movements and evocative facial expressions make her a compelling highlight. I was especially charmed by the sequence in which she (aided by Gooden) expressively mime the process of starting up a plane, then taking full flight—lovely!
Gooden is suitably graceful and haughty as the little prince’s dependent and obsession, the Rose. A third ensemble performer, Ali Saeedi, also portrays a series of characters, of which the most achingly relatable is a warehouse worker whom the little prince tries to help in his monotonous routine, but ultimately just frustrates. Some pivotal animal characters from the desert are represented here: the riddling Snake (Hudson) and fox who wants to be tamed (a Racoon in this version, portrayed by Saeedi).
There are a number of enchanting sequences in which Krentz, aided by harness and rigging, flies through the air in frolicsome aerial dances choreographed by Julia Taffe. The process by which he hooks himself up to the rigging isn’t hidden, but elegantly incorporated into his playful physicality.
I think it runs a little long for what it is, would perhaps be more fully engaging as a tighter hour instead of 80 minutes. That said, there are plenty of dynamic characterizations and appealing visual spectacle—designed to be persuasive to both the hearing and Deaf audience members. Even Ashley Naomi Skye’s atmospheric soundscape, though not particularly loud, seems to have been vibrationally enhanced (just my imagination?) to be a both an auditory and distinctly tactile experience.
The Little Prince: A Physical Theatre Adaptation
running April 4 to 19, 2025
Theatre Passe Muraille, Mainspace (16 Ryerson Ave.)
running time: 80 minutes (no intermission)
Ralista Rodriguez and Ebony Rose in The Little Prince | Photo by Jae Yang