How ‘The Little Prince’ comes alive on stage — Broadway show’s creators offer insight ahead of its NMACC run

Chris Mouron: My first impression was aural. When I was 12, the teacher played a vinyl record with the voice of the magnificent actor Gérard Philippe in the role of the Aviator and Gérard Poujouly a Little Prince. I was in tears after 5 minutes. That emotion, that shock, is still with me when I read the book.

Terry Truck: I was 18 and a music student when I first read the book. I was entranced by the collection of worlds it showed me and found the story sweet and profound.

The Little Prince’, is a Broadway production based on French author Antoine de Saint-Exupéry’s 1943-novella by the same name. (Photo credit: Philippe Hanula and Victoria Vucheva)

What did you do during the initial days before you started directing and rehearsing?

Anne and Chris: It wasn’t offered to us. It was our own initiative — a deep artistic desire — to create it. We started work and then found the people who were interested in producing the show.

Terry: I was excited when they told me that they wanted to collaborate with me on The Little Prince. Anne comes with her wide-reaching experience of big visual multimedia dance shows, and Chris has a wonderful understanding of the subtleties of words.

What was the idea behind bringing in aerial choreography and elements of circus to the production?

Anne and Chris: Adapting this book for the stage is a challenge. We wanted to respect the imagination and poetry of this masterpiece as best we could. We adapted the book in a choreographic creation with characters who fly and dance and the presence of a narrator to render the author’s words. Because Saint-Exupéry illustrated his book, we also try to incorporate his imagery. Many of his drawings are now iconic

Terry: A story about flying to different worlds — a symbolic spiritual journey — seemed to cry out for aerial exploration and where better to explore those worlds than with acrobatic dance. I’m not sure that circus is the right description for our work.

Which aspect of the production was most challenging for you?

Anne and Chris: We wanted to work with designers we loved and who also loved the book, music, video, costumes and make-up. What was most challenging was finding the right people on stage and behind the stage.

Terry: From the first moment we sat together around my piano, there was a natural and easy flow to the work. Of course, finding the best people to work with, both on and off the stage, is always a challenge, but the creation of the show flowed at its own pace, and we developed it over 3 years.

How crucial is music in this production?

Anne and Chris: Terry has been working with Chris for decades and together they have developed a great rapport.

Terry: For me, the music is the invisible heart of the piece. It continuously pulls the story onwards into the next world. In fact, we started the work initially with the music, and I tried to feel Anne’s love of the book and its special place in her life. Then we discussed how she wanted to express this in dance, and I began to compose the music for her and Chris while they sat next to me.

Now that you have explored the story for a Broadway show, what kind of emotions do you feel for this story?

Anne and Chris: When we created it, we didn’t imagine it would be so successful, we didn’t anticipate so many wonderful responses from the audience or so much recognition of our work from Saint-Exupéry’s heirs (all his descendants came to see the show on Broadway). We had no idea that the audience, wherever they were in the world and whatever their culture, would react in the same way. We feel like spoiled children and are so happy to be presenting this show in Mumbai.

Terry: I love travelling to see the show in so many different cities. I am proud to see how it touches so many people around the world.