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A royal return
BalletX presents Antoine de Saint-Exupéry’s The Little Prince, adapted by Annabelle Lopez Ochoa
Melissa Strong
In 2019, BalletX premiered its first full-length work, Annabelle Lopez Ochoa’s adaptation of Antoine de Saint-Exupéry’s beloved The Little Prince (1943). The illustrated novella appears to be for children, with simple drawings that belie complex themes and symbols addressing the nature of life and love. Translating the work into contemporary ballet sounded like a calculated risk back then, but the engaging and beautiful production impressed me. The company’s growth since then makes the current production (through July 19, 2026 at the Suzanne Roberts Theatre) even more memorable. Poignant, visually inventive, and masterfully danced, The Little Prince pairs adult concerns with childlike wonder.
The main character of the dance is not the Pilot (the story’s narrator), or the boy (the Little Prince) he meets after a desert plane crash, but the Snake. Lopez Ochoa chose to feature the Snake, representing death, because “death is omnipresent and the only certainty in our lives.” A video introduction provides more background on the initial creation and update of the ballet. Taking a voguing class with Stanley Glover, who originated the role in 2019, inspired Lopez Ochoa’s development of the Snake.
A dancer at the top of her game
Who would perform the Snake has been on my mind since BalletX announced its 2026 Summer Series. Just two dancers from the original cast remain: Skyler Lubin and Francesca Forcella, who reprise their roles as the Narcissist and the Rose. Meanwhile, three company members are sidelined with injuries, executive and artistic director Christine Cox said at the curtain on opening night. What would all this mean for The Little Prince?
The second time around is even better, as it turns out. Casting changes, updated costumes (Mark Eric, from original designs by Danielle Truss), and a larger company with a deeper roster contribute to a sumptuous production. Ashley Simpson embodies the Snake’s dark energy in a triumphant performance. A dancer at the top of her game, Simpson combines technical precision with fluid grace and depth of emotion. As the Snake, she slithers in a bodysuit with a bowler hat and a cane, controlling time, space, action, life, and death. Equally alluring and fearsome, Simpson’s Snake incorporates gesture, physical theater, and various forms of dance.
Simpson’s performance as the Snake complements Forcella’s as the Rose. The object of the Little Prince’s desire, the Rose is the most classical element in this modern, aesthetically minimalist ballet. Forcella’s elegant pointe work and majestic presence make it easy to fall for this capricious bloom. Together, Simpson and Forcella suggest female incarnations of the binary oppositions of creation and destruction, life and death, love and loneliness or despair.
Entangled forces
Peter Salem’s original score, performed live on stage, contributes to the tension between opposing forces. The Snake appears with an eerie drone punctuated by rattles, while the Rose brings a delicate, ethereal sound. Each character we meet has a distinctive musical component. Strong acting by the dancers enhances this richness. Eli Alford imbues the Little Prince with a child’s curiosity and enthusiasm. He partners well with Jonathan Montepara as the Pilot, lending their duets a sense of innocence meeting experience.
As these forces entangle, the Little Prince and the Pilot lead us on a journey to discover that the Snake—not adulthood or wisdom—has the greatest power. The characters we meet on the way highlight human follies, from an acquisition-obsessed Businesswoman (Savannah Green) to a Geographer (Eileen Kim) who surveys without seeing to the mirror-encrusted Narcissist (Lubin) clamoring for applause. Itzkan Barbosa shines as the workaholic Lamp Lighter in a gorgeous costume representing day and night. And João Pedro Silva infuses the Fox, a linchpin in the narrative, with charisma. It is the Fox, after all, who helps the Little Prince reunite with the Rose and begin to understand love.
A profound and elegant remix
Ben Schwarz, Barbosa, Green, Forcella, Kim, Lubin, and Silva play individual roles and participate in an ensemble that represents space, time, connection, and distance. Clad in white, the ensemble uses props and movement to tell the story of The Little Prince. Attractive set design (Matt Saunders and Petra Floyd) establishes location, dynamics, and action while paralleling the simplicity of Saint-Exupéry’s illustrations.
More abstract than its source material, Lopez Ochoa’s Little Prince retains its haunting symbols and themes. The choreography, music, design, and performances remix them into something elegant and profound. Simpson’s turn as the Snake anchors a refreshingly adult ballet filled with strong performances. This production of The Little Prince marks a creative milestone for BalletX. Don’t miss it.
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What, When, Where
The Little Prince. Based on the story by Antoine de Saint-Exupéry. Choreographed by Annabelle Lopez Ochoa, with an original score by Peter Salem. $55-90. July 15-19, 2026 at the Suzanne Roberts Theatre, 480 S Broad Street, Philadelphia. BalletX.org. To purchase student tickets, contact the Box Office at (215) 225-5389 x250 or [email protected].
Accessibility
The Suzanne Roberts Theatre is a wheelchair-accessible venue.
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