“These are adult judgments said in a childish manner… The Little Prince’s death is a suicide of an adult who has cognized the dusk to the bottom”.
— Michel Autrand
While creating a musical theater play based on a masterpiece which rivals the Bible and Karl Marx’s Capital on top of the list of most read books in the world, we implied no attempt to “screen” or “translate into the language of the scene” a little gold-haired boy story known from childhood.
First and foremost, we were creating the Little Prince’s themed FANTASY. The FANTASY largely visual and musical.
This broadly dominating musical component of our project originated the quite permissive style of our FANTASY.
In our performance, not like in a fairy tale, but rather in reality the pilot is dying of thirst in the desert, while trying his best to fix the airplane. However, the thirst, the sand, and the heat do what they should — unconsciously, he starts day-dreaming. The spectator and the protagonist should not be able to fully realize that this is the boy who arrived to Earth from Asteroid B-612, and who is urging the lead character to reminisce of the value of childhood — was it real or illusory?
The only clear thing is that while the pilot is trying to save his life, his body, the prince, even with the most ingenuous ways and in search for answers to the grown-up questions, has been pushing him to salvation of his soul.
And the star wanderer shall only “leave” after having realized that he has saved the pilot, brought him back to himself… given him “the water as heart cure,” when he makes sure his friend has realized that “what is invisible for eyes… is the most beautiful!”