What more can be said about “The Little Prince” that hasn’t been said before?
Antoine de Saint-Exupéry’s 1943 novella has been adapted so many times — into countless plays, movies and television series — that any artist looking to repackage that classic story today is faced with the daunting task of offering something new.
Landon Krentz’s new adaptation, now running at Theatre Passe Muraille, sounds fascinating and fresh in concept. Billed as a piece of physical theatre and told by an ensemble of deaf actors, this wordless production strips “The Little Prince” down to its essence and strikes at the core themes of Saint-Exupéry’s tale: of connection, understanding and seeing others for who they truly are.
But in execution, this world premiere staging more than misses the mark, lacking the one thing essential to any adaptation of “The Little Prince”: imagination.
The problems start with Suchiththa Wickremesooriya’s awkward direction. So much of the action takes place on the floor, in front of the actual stage, that if you’re shorter than six feet or seated anywhere except in the first row, your experience will be greatly diminished. (Something I’ve never seen before: someone in my row grew so frustrated that he stood up halfway through the performance just so he could get a proper view.)
While Krentz’s retelling hews closely to the original, about a young prince (Krentz) who travels to various planets and meets a host of unique characters along the way (played by Ebony R. Gooden, Ali Saeedi, Ralista Rodriguez and Hayley Hudson), this production feels frustratingly incomprehensible. (I say that as someone intimately familiar with the story.)
Krentz’s adaptation is presented mostly through mime and movement. There’s little variation to the proceedings, which favour physical gags rather than movement that helps to convey the story. Even an aerial routine featuring Krentz flying above the ground, breathtaking at first, soon grows repetitive.
Adriana Bogaard’s whimsical costumes and colourful sets are one of this production’s few highlights. The versatile ensemble, particularly Rodriguez playing several roles including the Queen and Aviator, embody their characters with charm. But even they can’t help this “Little Prince” achieve liftoff.
