It has taken this reviewer a couple of days to contemplate the new stage version of the well-known children’s story “The Little Prince” penned by Antoine de Saint-Exupery, which has taken up residence at the Broadway Theatre for its New York debut. At first, although mesmerized by the illusionary concept put forth by an impressive creative team, the question that came to mind was “Does this show belong on Broadway as a viable piece of theater?” The answer to that indiscriminate question can only be answered by each individual audience member. My conclusion was influenced by the eight-year-old who was sitting next to me on a booster seat. As he leaned forward holding on to the seat in front of him, his head bobbed back and forth making a valid effort to see everything as he was completely hypnotized by the production. The only difference between the two of us was that I did not have a booster seat. Both of us had already learned the important lesson put forth in this wise tale, that “one sees clearly only with the heart.” Perhaps there can be a theatrical experience on Broadway that does not have to be cerebral but enjoyed in an optical and heartfelt manner. It became undeniably clear that the traveling escapades of “The Little Prince” had captured our imagination and compelled us to escape reality. Not such a terrible thing to happen during these trying times.

The production certainly is not perfect, but it is stunning while not being pretentious or overwhelming. It is an even mix of dance, circus, illusion, and storytelling. The recorded music can sometimes sound harsh and piercing so the overall production would be enhanced by a live orchestra which might also add to the atmospheric realm. Also, it would benefit audience viewing if the stage were raised or for that matter raked to provide a better view of the choreography and staging. It also might help to read the story before seeing the production although it is not necessary.

A pilot crashes his plane in the Sahara Desert where he meets the “Little Prince” who is from a small planet called Asteroid 325 where he is caretaker, preventing any bad seeds from growing. He has visited several planets and reveals what secrets he has learned from his escapades. Although depicted in abstract visuals the lessons are clearly relevant to humanity. The pilot fixes his plane after eight days in the desert and it is time for them to go their separate ways. It is a bittersweet end to an odd but unfeigned relationship.

Director and choreographer Anne Tournie keeps the action moving through the travels of “The Little Prince” at a steady pace easily making sure each encounter is easily visualized and connected like chapters in a book. Each chapter is a complete story of its own relying on varied and abstract means of communication that never overwhelms or distracts, keeping the messages simple and understandable. Lighting design by Stephane Fritsch adds to the fantasy and creates the atmosphere needed to transport the audience to another dimension. The whimsical costume design by Peggy Housset animates the stories in a way that reaches your inner child. Audience members that find it difficult to relate to the illusionary visuals that appear on the stage or the lack of dialogue between performers need only remember one important line from this story. “What is essential is invisible to the eye.”