Byharrymottram
Oct 6, 2024
October 6, 2024
Theatre Review: The Little Prince. The Egg, Bath.
Written in 1942 while in exile in Canada and the USA Antoine de Saint-Exupéry’s The Little Prince is in part modern science fiction inspired fairy tale, part morality play and part anti-Nazi symbolism. Although in the original novella it may seem more a simple fable examining the differences in children and adults’ ability to imagine and examine the world through the heart rather than the eyes. The background however is inescapable – Antoine de Saint-Exupéry’s experience of crashing his aircraft in the Sahara, surviving for days without food and water in the extreme heat of the sands of the desert and of his time in World War Two of viewing the horrors of Nazi occupied France from afar.
Bathonian Toby Thompson’s adaption held the attention of the near packed audience of primary school age children for the hour-long dramatized story telling – with limited but enjoyable interaction with the young theatre goers. An achievement in its own right since the actor and poet paced the story with quiet and reflective sequences as he contemplated loneliness and friendship with sudden action scenes as he engaged in at times comical conversations between the Little Prince and a series of characters on the planets of our solar system and between children and grown-ups. There was a pompous King who couldn’t make anything happen (Pétain’s Vichy Government), a talking rose (his wife, Consuelo de Saint-Exupéry and possibly the long suffering French public), a drunk (those who had given up after the fall of France), a fox (who could only think of eating – preferably chickens) and a wonderfully self-important man who was the only contemporary character – a selfie obsessed online influencer and celebrity – empty of thought other than in his quest for more followers and not true friends. (I think we all know the type.)
Somerset and Bristol based Nik Partridge directed Toby with a subtlety and a thoughtful pace so the themes of friendship, loneliness and loss – and of questioning everything – were clear and concise, in a poetic script often spoken in rhyming couplets adapted from the orginal by Toby. The story was dedicated to Saint-Exupéry’s friend Léon Werth who spent the war in France, often alone and hungry, which reflected the writing process. The production was enhanced by Anisha Field’s stage design of office desk, piano, lamps and graphics on the floor and projected on a huge backdrop; plus the music of Alex Hearne and sound effects of Bethany Ley which gave an added dimension to the unfolding story from bird song to the sounds of the desert. It is a story of the pilot who is lost in the desert who meets a visiting interplanetary prince who tells him of his travels around the solar system and the what he learnt from his experiences. It’s a plea for peace, for understanding and friendship and that ‘one sees clearly only with the heart’.
With essential props such as a model plane, sand poured from a mug, and Toby’s costume as a retro aviator and a green scarf for the prince this was a brilliant and nuanced performance that so perfectly fitted the Egg’s stage, in a production that was both magical, thoughtful and entertaining for adults and small children alike.
Harry Mottram
The play ran from 26 September to 6 October, 2024.
For details of more shows at The Egg visit: https://www.theatreroyal.org.uk/whats-on/
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