BWW Reviews: THE LITTLE PRINCE Lands at Kennedy Center

It seems only fitting that in its efforts to introduce a musical form as grown-up as the opera to younger audiences, that the Kennedy Center has picked for this holiday season the children's classic THE LITTLE PRINCE, a story all about grown-ups trying to understand children trying to understand grown-ups. As the author's original dedication reads, "All grown-ups were children first," and in this family friendly production, the Kennedy Center has put forward something for the grown-up and the child in all of us.

The 1943 children's book by Antoine de Saint-Exupery follows an airplane pilot who makes a crash landing in the Sahara Desert, with only eight days of drinking water. That's where he encounters The Little Prince, a mysterious boy from a faraway planet who accompanies the Pilot and tells him stories of all the planets he's visited. The most popular French book written, "The Little Prince" has captured imaginations for generations and is viewed as much as a philosophical parable and social critique as it is a children's book.

A lasting lesson from the novella is the last bit of wisdom a fox gives the Prince, "Anything essential is invisible to the eyes." This celebration of the creativity and imagination of children and their ability to see past the literal is central to the novella, and thankfully has remained at the heart of its operatic adaptation.

The opera, premiered in 2003 by the Houston Grand Opera, features a score by Academy Award-winning composer Rachel Portman, a libretto by Nicholas Wright and is directed by Kennedy Center Artistic Director Francesca Zambello in the intimate Terrace Theater. Conductor Nicole Paiement presides over a 14-piece section of the Washington National Opera Orchestra.

The production is visually stunning, with inventive set pieces like volcanoes and baobab trees popping right out of Saint-Exupery's classic illustrations and onto the stage. Landmark achievements of Mark McCullough's lighting design include a beautiful sunset and a starry sky. Even the classic silhouette of a star from the last pages of the novella makes an appearance in the final moments of the opera.

As traditional with operas, sound is natural and not amplified, so understanding every word often becomes difficult. This is partially why linguistic wit and humor aren't usually a large element in opera. Expectedly, a lot of the great thoughts in the novella drown on stage, but what the opera does have going for it is Portman's score. Filled with contemporary ideas and childlike notions, her music is instantly inviting to a younger audiences without ever pandering or simplifying. Wright's libretto follows suit, finding the poetry in Saint-Exupery's words and adding rhyming couplets to ease comprehension.

Christian Bowers, (and then Chris Carr in later performances), carries the show in the leading role of The Pilot with a strong, clear voice. Henry Wager, (and then Andrew Pulver in later performances), put forth a pitch perfect but dimensionally flat performance as the title character of The Little Prince. Bowers and Wager sometimes seemed lost in their motions, as if the blocking was either under rehearsed, or that it didn't always meld with the music. In general, the highly talented "grown-up" ensemble seemed more comfortable in their roles than either of the leads.

The highlight of the piece, however, is the Washington National Opera Children's Chorus, who shine throughout. Chorus Master Will Breyspraak has produced a perfectly balanced and dazzling display of voices.

Ideally, the audience for THE LITTLE PRINCE should reflect its cast. A few reasonable grown-ups there to support and keep a watchful eye on the host of children completely lost in theatrical magic. The Kennedy Center has created a wonderful new holiday tradition in family opera, one that will hopefully become as inseparable to the season as jazz bands playing Christmas songs on the Millennium Stage.

Photos by Scott Suchman.

THE LITTLE PRINCE runs through Dec. 21 at the Kennedy Center's Terrace Theater.
The performance run is sold out, but patrons may call (202) 467-4600 or (800) 444-1324 to inquire about last-minute availability.

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