‘The Little Prince’ Is a Mystifying Misfire
The Broadway readaptation makes you miss the original novel by Antoine de Saint-Exupéry
COURTESY OF JOAN MARCUS
Laurisse Sulty (The Rose) and Lionel Zalachas (The Little Prince) in “The Little Prince.”
April 11, 2022
“Once upon a time there was a little prince who lived on a planet that was hardly any bigger than he was, and who needed a friend.”
As I assume many would say, “The Little Prince” has been one of the most formidable stories of my life. Its rich, poetic language inspired me to be a writer, and I often revisit the story when I need a good pick-me-up.
I have multiple copies of the book (including a pop-up edition), I’ve contemplated getting a tattoo inspired by the source material numerous times, and I sobbed like a baby at the ending of the Netflix-produced 2015 animated film adaptation.
I was more than prepared for the Broadway adaptation of the story, but for the sake of my own enjoyment, maybe I shouldn’t have been.
Director and choreographer Anne Tournié crafts some of the most breathtaking physical performances I’ve seen in years.
Currently playing at the Broadway Theatre (1681 Broadway at 53rd Street) after sold-out engagements in Paris, Sydney and Dubai, “The Little Prince” is a visually stunning feat that lacks the same heart as the original source material.
Like the book, the story follows a young prince who explores various planets, such as Earth, and learns about the world through colorful figures, like businessmen, drunkards and animals.
Production’s Magic
The production’s biggest draw is the dance and aerial acrobatic performances. Director and choreographer Anne Tournié crafts some of the most breathtaking physical performances I’ve seen in years.
The aerial performances, particularly from the Little Prince (Lionel Zalachas), the Snake (Srilata Ray) and the Aviator Tribute (Antony Cesar), had my jaw fall to the floor. Some of their drops had my heart leaping out of my chest, especially the last-minute trick at the finale (no spoilers!). When heart-shaped confetti showered over me, I felt the magic in the air.
Notable dance numbers were led by the Vain Man (Antony Cesar), the Drunkard (Marie Menuge) and the Lamplighter (Marcin Janiak) during the Little Prince’s planet visits.
In terms of the book’s material converting into the theatrical production, the Little Prince and the Rose’s relationship was the most moving aspect of the show.
With clever costume design by Peggy Housset, when the Rose (Laurisse Sulty) bloomed and began her dance, I was just as captivated and in love as the Little Prince in that moment. The three Rose-centric scenes, “The Rose,” “The Flight of the Little Prince — Farewell to the Rose,” and “The Ballet of the Roses,” reminded me why I love the classic story so much.
However, not every element of the original story translated perfectly to the stage.
Less Than Stellar Results
However, not every element of the original story translated perfectly to the stage. While each section of the novel feels essential to the overarching narrative, the pacing of this production was all over the place, much like the Little Prince’s travels.
Many scenes, like “The Planet of the Little Prince” and “The Echo,” outstayed their welcome. Often, audience members accidentally clapped midway through a performance, resulting in softer applause and audience interaction when the show called for it.
Due to the uneven pacing, some scenes like “The Businessman” and “The Railway Switchman” felt out of place and unnecessary despite being in the book. The production also added modern components to those scenes, like the usage of iPhones and a joke featuring a traveler flashing a tourist in the latter scene that didn’t receive laughs. With a pre-show announcement discouraging the use of phones that states, “Phones didn’t exist during the author’s lifetime,” it was strange to see them appear on stage.
The utilization of a narrator (Chris Mouron) left much to be desired. While I enjoyed the literary tie-in, her reciting didn’t deliver enough distinction between each character’s voices.
In an ideal world, I would have preferred more acting from the character performers or turned the Narrator into the Aviator recounting the Little Prince’s story.
And even though “The Song of the Little Prince” was charming, it felt redundant, as if the production didn’t know how to wrap it up.
Final Farewells
At times, I wondered what the experience would have been like if I went in blind with no relationship to the source material. I think it would have helped me better suspend my disbelief, like divorcing the gentle illustration of the Little Prince character from the muscular, fully grown Zalachas whose stature made me reconsider the nature of some of the Little Prince’s relationships in the story.
As the Little Prince and the Fox sat comfortably together, facing the horizon, I saw stars in the eyes of these kids.
Nevertheless, I appreciate the production’s efforts to reimagine the experience of reading the original novel for the first time.
In one of the only moments of stillness in the show, where the Narrator says the iconic line, “Here is my secret. It’s quite simple: One sees clearly only with the heart. What is essential is invisible to the eye,” I turned to the kids sitting near me. I had overheard during intermission that this was their first Broadway show.
As the Little Prince and the Fox sat comfortably together, facing the horizon, I saw stars in the eyes of these kids. Maybe this production will encourage them to read the original story, like I reread it when I returned home. Or maybe this is the definitive version of the tale for them, something they’ll treasure in their hearts forever, and that’s okay too.
“The Little Prince” opened at the Broadway Theatre on April 11 and will continue to run as a limited engagement through August 14.
