A timeless tale of whimsical wonder is transcending spoken language, as this magical story at a Toronto theatre is brought to life by an entirely Deaf cast.
Deaf artist and storyteller Landon Krentz is the visionary behind the reimagined adaptation of Antoine de Saint-Exupéry’s 1943 classic novella The Little Prince, on stage now at Theatre Passe Muraille in co-production with Inside Out Theatre.
The famous plot features themes of friendship, love, and loss that brilliantly clash as the extraordinary titular character, The Little Prince, travels the universe and dives into the profound true meaning of life.
Though The Little Prince is the second most translated book of all time, trailing only the Bible, Krentz came to the realization that the story was a rarity for Deaf audiences that didn’t have access to a sign language version of the show.
Working alongside seasoned actress and cast member Ralitsa Rodriguez, he crafted the story for the stage over the course of two years into a masterpiece he describes as “deeply personal.”
“I didn’t just want to translate it—I wanted to reimagine it from a Deaf cultural lens, exploring what it truly means to ‘see with your heart,’” Krentz explained to Now Toronto on Wednesday.
“We asked ourselves: what if we told this story not just through language, but through the body? Could it have even more impact?”
Krentz says he deeply resonates with the well-known story on various levels; as a human being, often externally searching for the answers that lie within, and as a Deaf person overcoming barriers in a world not optimized for people like himself.
“As a Deaf person raised in a hearing world, I know what it feels like to navigate unfamiliar spaces, longing to be understood. The Prince’s journey mirrors that experience. What’s most important isn’t visible to the eye—it’s something you carry in your heart,” he said.
Gracing the stage until April 19, viewers are treated to an eccentric journey like no other through the breathtaking fusion of physical theatre, Visual Vernacular (VV), American Sign Language, vertical dance and immersive projection design. For Krentz, every little gesture and movement in this production tells an emotional story in ways that words can’t express.
“VV is cinematic… rooted in gesture, rhythm, pantomime, and facial nuance,” he said.
“Spoken language can describe a star falling—VV becomes that star. VV allowed us to embody the emotional landscapes of each planet. You don’t just understand the story, you feel it. That’s the power of visual storytelling. It transcends words. It doesn’t need translation.”
All cast members of the production are Deaf, though much of the behind-the-scenes crew members were of hearing, an unconventional collaboration Krentz said required deep listening, trust and a willingness to stray away from traditional theatre norms.
“Hearing collaborators had to make space for embodied storytelling that centers physical theatre and Deaf culture, not spoken word or interpretation. It was about working with Deaf artists on our terms,” he said.
As both the creator and the lead artist in this production, Krentz unapologetically leads the audience to experience his work with a fresh set of eyes. To him, having it premiere for the very first time on the Theatre Passe Muraille stage is both political and cultural, with significance that surpasses just the performance itself, but also pushes forward a dialogue about identity, belonging, and the power of art to ignite change.
“Deaf theatre in Canada is still fighting to be seen, not just accommodated… We’re not guests on the stage, we’re owning our narratives,” Krentz emphasized.
“It means a lot to be here, especially knowing how rare professional Deaf theatre is in this country. It connects to a long history of language suppression—going back to the 1880s when manual communication was banned. This performance is an act of resistance, reclamation, and joy.”
In the performance’s final week on stage, Krentz’s hope for all audiences – Deaf or hearing – is for them to feel the story of The Little Prince in all its glory, where silence is loud and what is unseen is actually the brightest. For those who may have never experienced a Deaf-led performance, he simply asks them to let go of any preconceived expectations and attend with an open mind.
“I want them to see that storytelling doesn’t need words to be powerful. Silence can be luminous. And I hope hearing audiences, in particular, enter this space with imagination—willing to experience theatre differently,” Krentz said.
“This isn’t about Deaf artists copying hearing theatre, it’s about reimagining what theatre can be through a Deaf lens. Be ready for something beautiful, unfamiliar, and unforgettable.”
The Little Prince is on until April 19 and tickets can be purchased here.
