Spare Parts Puppet Theatre’s The Little Prince adapted from the book by Antoine de Saint-Eupery; Directed by Michael Barlow, Adapted by Simon Clarke
Performed by Jacob Lehrer and Jessica Lewis
If you have ever created theatre for little kids you know that there are no rhetorical questions in the theatre. Throw a question at a very young child and it will answer it. If the child doesn’t hold with the actions a character makes it will call out ,”No!”, “Don’t go!”. “She’s hiding in the box”, etc.. They are the first to giggle, clap and get up and dance. If they don’t understand a theatrical convention, they will demand of the performers, “What are you doing?”, “What’s that?”; quite distracting for the rest of the audience. Whatever you do in staging, don’t lose their attention. They will let you know: “Can we go now?”, “I’m bored!”
Spare Parts Puppet Theatre’s production of the French classic by Antoine de Saint-Exupery, is delivered with panache to the 4+ crowd. It has everything to sustain a very young child’s attention: big facial expressions that are felt and real, short scenes interspersed with music, a variety of puppets and styles of performance, plenty of colour and sensitivity in the realization of the handing of the puppets and an enigmatic, amazing, quixotic, unfolding set.
It is a thoroughly entertaining production . . . although, is Antoine de Saint-Expery’s message going over the tiny heads of its audience? It is a philosophical parable aimed at adults and the more mature of the younger set told in a naïve manner. Think of The Alchemist by Coelho. To counter this each short scene that reaches into the deeper reality of the play is followed by a sung refrain of the point being made. The message that what is valuable cannot be seen is repeated over and over. The audience is given every opportunity to absorb these words. But is the target audience to young to understand their meaning?
In its determination to hold the attention of its youngest audience members and adhere to tried and true practice for that age set, some of the magic of puppetry is lost.Necessarily a 50 minute production, the unpacking of the set, a compact crate filled with boxes and their surprises was rushed. A greater belief in the wonder of stage business and its ability to hold an audience’s attention would help to slow this down.
Between each message-filled episode of the Little Prince’s journey he would be floated away to the strains of, perhaps, discordant music that contrasted with the melodic tune of the scene just played out. The brevity of each scene interspersed with these interludes kept the fast pace in the overall delivery. These interludes would have been much more effective with a slightly older audience where the more mature child would have a space to absorb the pithy parable before being engaged with the next episode.
The lighting design was effective and helped to allot the many levels of reality their own place in the sun or space (or head space). Perhaps a smaller pool of light would have aided the delivery of scenes meant to be focused on the intimate interaction of just the puppets with each other. By this I mean I would have preferred to see less of the expressions of the performers when the puppets were interacting with each other in conversation. It was difficult to enter their reality when focus would slip between the puppeteer and the puppet in a weighty moment. The interplay between puppets and human characters was lovely. The relationship of the two human characters was a little nebulous but entertaining – what was their relationship? Were they stage hands? Random teenagers ready to play?. The selfies and adolescent stage business got the older child.
But these criticisms would be more apt if the performance was directed at an older audience. It’s not. I would love to see it directed at an adult, high school and older primary crowd – my eleven year old got it and enjoyed it.
It is beautifully presented. It is entertaining. I highly recommend it for a young and up to primary school age audience.
The Little Prince is playing in the Monkey Baa Theatre at Darling Quarter until 9th July.
Thank you to Liz Raleigh, Spare Parts Puppet Theatre and Monkey Baa Theatre for their production photos.