Welcome to the digital program for The Little Prince: A Physical Theatre Adaptation
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The Little Prince: A Physical Theatre Adaptation
by Landon Krentz
A Landon Krentz, Theatre Passe Muraille and Inside Out Theatre Co-Production
Image description:
On the bottom right side of the image is Landon Krentz wearing a dark green shirt and bright yellow scarf. He is looking upwards, holding an arm above his head as is he is searching for something. Behind him to the left, there is a grey tree. To his top right, there are grey birds flying, they are attached to strings like kites.
Theatre Passe Muraille’s crimson red branding lines are on each side of the image. The TPM and Inside Out Theatre logos are on the bottom left of the image.
The copy reads:
“April 2 – 19
The Little Prince
A Landon Krentz, Theatre Passe Muraille, and Inside Out Theatre co-production ”
Graphic design by Emily Jung
Pictured: Landon Krentz
Picture by Ebony R. Gooden
Cast
Landon Krentz | The Little Prince
Ebony R. Gooden | Rose, Social Media Influencer, Deaf Planet Guide, Ensemble
Ali Saeedi | Raccoon, Doomscroller, Warehouse Worker, Ensemble
Ralista Rodriguez | Aviator, Queen, Archivist, Ensemble
Hayley Hudson | Young Aviator, Businesswoman, Snake, Ensemble
Creative Team
Created by
Landon Krentz
Directed & Dramaturged by
Suchiththa Wickremesooriya
Deaf Dramaturgy by
Joanne Webber
Associate Directed by
Elizabeth Morris
Produced by
Olivia Etey
Technical Direction by
Micah Champagne
Production Management by
Michelle Soicher
Vertical Dance Co-produced by
Aeriosa Dance Society
Vertical Dance Choreography by
Julia Taffe
Safety Direction & Rigging Design by
Colin Zacharias
Stage Management by
Kayla Thomas
Apprentice Stage Management by
Alexa Hickox
Lighting Design by
Nicole Eun-Ju Bell
Projection Design by
Christopher-Elizabeth
Illustration Design
Alessio Convito
Sound Design & Compositions by
Ashley Naomi Skye
Assistant Sound Design by
Shawn Piccione
Costume/Set Design by
Adriana Bogaard
Assistant Costume and Props Designer
Carmina Pascutiu
Costume Construction
Jan Venus
Set Build by
Oren Bowes
Honorary Producer
Deafies Unique Time
Theatre Passe Muraille Team
Artistic Director | Marjorie Chan
Artistic Producer | Indrit Kasapi
Associate Artistic Director | April Leung
Producer | Jenn Sartor
Bookkeeper | John Cabanela
Community Engagement Manager | Angela Sun
Fundraising and Development Manager | Keith Fernandez
Fundraising & Development Coordinator | Faizah Syeda
Marketing and Communications Manager | Shanae Sodhi
Marketing and Communications Intern | Cindy Zogu
Patron Services Manager | Aws Waham
Production and Facilities Manager | Aidan Hammond
Mainspace Technician | David Fisher TCDSB Co-op Student | Katerine Munoz
Access Guide
To access the visual story, please click the button below. An Access Guide is a package that aims to support people with communication difficulties, learning disabilities, English as a second language and Autistic People. It can be used to help anyone access and understand the play. The package may include spoilers.
Accessibility
Relaxed Environment: The full run of The Little Prince will be a relaxed performance. For more information visit our Relaxed Environment page.
An ASL Interpreter will be available in the lobby before the show to assist with communication at the Box Office and Bar or Front of House team.
Mask Mandatory:
- Thursday April 17 at 7:30 pm
Some seats have some vibration created by sound. These seats will hold priority for Deaf patrons and their families.
Death by snake poisoning
Note from the Producing Companies
Welcome to THE LITTLE PRINCE! We’re so thrilled to be able to support this extraordinary physical theatre adaptation of Antoine de Saint-Exupéry, as interpreted by Landon Krentz and a team of Deaf performers, and directed by Suchiththa Wickremesooriya with associate director Elizabeth Morris. It has been an extraordinary journey for us at TPM, even as the Prince’s sojourns have begun to take shape. Much gratitude to our producing partners Landon Krentz, and Inside Out Theatre (Calgary). It was a true measure of collaboration to be able to see this epic work onstage, and would not have been possible without the immense effort of all.
THE LITTLE PRINCE imagines this iconic tale of the curious and adventurous Prince as he makes his way through the stars with a Deaf perspective, using ASL (American Sign Language), Visual Vernacular and aerial dance to create a fantastical experience for all ages. In the same reflective way that the original watercolours shaped the aesthetic of the novel, the illustrations by Alessio Convito featured in the projections creates whole worlds for the Prince and delightfully transform the mainspace.
To us, this production is a hallmark of our approach and desire for TPM to be a place that can affirm communities and aesthetics that are not often seen on stages. It is rare for us to offer an adaptation, but as with any work inspired by a previous one, we ask the question: What shifts in an adaptation when given the lens of a specific culture? In this case, it is a privilege to offer The Little Prince from a Deaf culture lens for Deaf and non-Deaf audiences to experience these imagined worlds together. Enjoy.
Marjorie Chan, Artistic Director
Indrit Kasapi, Artistic Producer
Theatre Passe Muraille
Inside Out Theatre is a proud Deaf, Disability, and Mad-led company based on Treaty 7 territory in sunny Mohkinstsis (Calgary). We are committed to championing a Deaf Culture that thrives instead of merely survives, and celebrating the vibrancy of Deaf performance.
It has been an honour and an absolute hoot to collaborate with Theatre Passe Muraille and Landon Krentz to transform this beloved story. To us, The Little Prince has always been a story of discovery, fearless adventure, and delightfully surprising relationships. The same can be said for the process of creating this play and we’re grateful to have been a part of it.
Our sincerest thanks to everyone who’s helped make this dream project come true, including you dear audience members. We invite you to explore, engage, and imagine with us as we continue to envision a Theatre For Every Body.
With gratitude,
The Inside Out Team
Note from the Playwright
Antoine de Saint-Exupéry’s The Little Prince has captivated hearts across the globe, translated into over 300 languages—but rarely has it been experienced in the rich visual languages of Deaf communities. This adaptation is not simply a translation; it is a reimagining that breathes new life into the story through the lens of Sumain culture, blending American Sign Language (ASL), Visual Vernacular (VV), and physical theatre into a vivid, immersive journey.
For too long, spoken languages have dominated the realm of storytelling, leaving Deaf audiences with fragmented or incomplete experiences. I created this adaptation to fill that void—to give Deaf children, particularly those born to hearing parents, a story where their language and culture take center stage. Many Deaf children experience language deprivation due to a lack of ASL exposure at home. This adaptation seeks to address that, offering a narrative where language is visual, embodied, and deeply resonant.
Why Deaf Theatre is Necessary in Canada
In Canada, opportunities for Deaf-led theatre remain scarce. Deaf stories, when told at all, are often filtered through a hearing lens, resulting in interpretations that lack cultural nuance and authenticity. The absence of Deaf representation on Canadian stages perpetuates the erasure of Deaf experiences and limits opportunities for Deaf artists to take creative control of their own narratives. This production challenges those norms by placing Deaf culture and storytelling at the forefront, offering a platform where Sumain voices are heard, seen, and valued.
Deaf theatre is not just about representation—it is about cultural preservation, language visibility, and empowering Deaf artists to lead their own creative journeys. By incorporating VV, ASL, and physical theatre, this adaptation not only engages Deaf audiences but also educates hearing audiences about the depth and richness of Sumain artistry. Through this work, I hope to build momentum for more Deaf-led projects in Canada and ensure that future generations of Deaf artists and audiences see themselves reflected authentically on stage.
The Little Prince is more than a show—it is a declaration of the power of Deaf-led theatre. I am proud to share this work with you.
Tru-biz heart-touch,
Landon Krentz
Image Description: The image features a person with short, wavy brown hair and light stubble wearing a brown suede jacket over a black shirt. They have a direct gaze into the camera with a slightly serious yet relaxed expression. Their left hand is raised to the side of their head, gently touching their hair. The background is a vibrant, colourful mural with abstract shapes in shades of blue, orange, yellow, and purple. The overall composition creates a visually striking contrast between the person’s neutral-tones outfit and the bold, artistic background.
Photo credit: Rylyn Delaneyd
Note from the Director
The original Le Petit Prince/The Little Prince is one of the most quotable books in the world. The commentary on the imagination of children, and the role of the Prince in re-teaching the Aviator what it means to relate to those around them serves as an encouragement to children that their imagination and open hearts matter. It also serves as a warning to adults to not kill those impulses within themselves, but, most importantly, to protect those impulses within the children in their lives. After all, “All grown-ups were once children… but only a few of them remember it.
When Landon shifted his approach to this piece to being almost entirely text-free, I must admit it caused me to pause. The language in the novel is so beautiful, the storytelling is so compelling! Wouldn’t we lose some of the nuance when removing the words? It turns out, we can tell a whole new story instead. A story not of just children and adults, but Deaf children and hearing adults. Not just a story of imagination vs ignorance, but one that tells the story of the colonization of Deafhood, and the joy of Deaf Communities. Each of the characters we meet in this journey will challenge the prince in all the ways they do in the novel, and then some. The heart of our story is for Deaf children and their hearing parents, but it’s also for everyone else who hopes to live in a world of beauty and friendship.
I must admit that from time to time I find myself missing some of those beautiful words, but in those moments, this team has looked to different tools. In this piece you will see Physical Theatre, Visual Vernacular, Vertical Dance and ASL. Any one of these modes of communication would tell a whole story on its own, but by using all of them we hope what we have found is a deeply rich, multi-layered story. Through Physical Theatre, we move the action forwards, through Visual Vernacular we tell the stories within the story, and through Vertical Dance the emotions of the moment are realized more fully. The singular scene with ASL… well, no spoilers, but let’s just say that having your story be heard by others and being able to truly communicate with them for the first time is incredibly powerful.
I began by saying the original novel is infinitely quotable, so it’s only right that I end with one, adjusted to our story. “The most beautiful things in the world cannot be seen or heard or touched, they are felt with the heart.”
Suchiththa Wickremesooriya
Image description: The image features a brown-skinned man wearing an orange linen shirt. He has long black hair and a mustache and goatee with some greys in them. There is a tall window in the background.
Photo credit: Kenda Al Yakobi
Cast
Landon Krentz is a Deaf theatre creator, performer, and playwright specializing in Visual Vernacular (VV), physical theatre, and immersive storytelling. Their work explores movement, visual language, and rich, layered narratives that challenge conventional storytelling forms. His notable productions include A World Without Them, The Light of the Deep, The Little Prince, and 100 Years of Darkness, each blending poetic imagery, dynamic staging, and bold theatricality. With a background in animation and a deep love for visual storytelling, Landon crafts performances that transcend spoken language, creating experiences that feel both intimate and expansive. Their artistic practice is rooted in creating an equal shared theatre experience for both Deaf and hearing audiences. Landon’s work continues to evolve, constantly pushing creative boundaries and reimagining what theatre can be.
Image Description: The image features a person with short, wavy brown hair and light stubble, wearing a brown suede jacket over a black shirt. They have a direct gaze into the camera with a slightly serious yet relaxed expression. Their left hand is raised to the side of their head, gently touching their hair. The background is a vibrant, colorful mural with abstract shapes in shades of blue, orange, yellow, and purple. The overall composition creates a visually striking contrast between the person’s neutral-toned outfit and the bold, artistic background.
Photo credit: Rylyn Delaney
Ebony R. Gooden is a dynamic actor and movement artist whose work bridges theatre, film, and experimental performance. As a Black Deaf artist, Ebony infuses her lived experiences and cultural identity into every role, crafting performances that challenge norms and amplify underrepresented voices.
Her credits include First Sound, Last Sound (Esker Foundation 2023), 100 Years of Darkness (Inside Out Theatre 2023), and Oh Clare! Divergent Dances (Inside Out Theatre 2022). With a strong foundation in visual storytelling and body movement, Ebony’s performances transcend language barriers, using American Sign Language (ASL) and embodied expression to create deeply resonant and accessible experiences.
Whether through theatre or movement-based work, Ebony is committed to pushing creative boundaries, fostering connection, and advocating for greater inclusivity and representation in the arts.
Ali Saeedi (he/him) is a Deaf artist, filmmaker, and actor from Iran, now based in Toronto since 2007. He wrote, directed, produced, acted in, and edited the films Melt and Sand of Time, with Sand of Time earning international acclaim. Ali also served as co-producer and actor for Deafening Darkness and Old Mother Tongue. A co-founder of Deafies’ Unique Time, he celebrates Deaf BIPOC voices through transformative theatre. His work bridges theatre and film, inspiring audiences with the beauty of Deaf-led storytelling.
Image Description: Man with black hair with moustache and beards, shirt colour is blue and white with collar
Ralitsa Rodriguez is a seasoned Deaf actress and performer with a career spanning over three decades. She has dedicated her craft to breaking barriers and bringing powerful stories to life through a unique blend of American Sign Language (ASL) and vocal performance.
Ralitsa’s journey began when renowned playwright Mark Medoff discovered her talent as a contemporary dancer and encouraged her to explore acting. This led to her iconic portrayal of Lydia in Children of a Lesser God, a role she performed for 22 years, including three productions directed by Medoff himself. She also starred as Sarah Norman Leeds in Children of a Lesser God at the San Diego Repertory Theatre, directed by Sam Woodhouse, in 1986, before the story was adapted into the Academy Award-winning film.
Beyond her work in Children of a Lesser God, Ralitsa has showcased her versatility as a performer through roles that seamlessly integrate ASL, vocal performance, storytelling, and ASL poetry. Most recently, she performed three roles in Fernando & His Friend Llamas directed by Juan Jaramillo, demonstrating her ability to captivate audiences with ASL.
Ralitsa’s passion for the performing arts has taken her to international stages. In August 2024, she performed at the world-renowned Edinburgh Fringe Festival in Scotland, and in September 2025, she toured Colombia, taking on multiple roles.
Her latest venture involves bringing The Little Prince to life for Deaf children, a dream that began 10 years ago when she envisioned signing the story in ASL. Ralitsa is thrilled to collaborate with a visionary team.
She continues to embrace her passion for acting, movement, and dance, cherishing every opportunity to connect with audiences and push the boundaries of accessible theatre.
Image Description: A smiling woman with long gray hair, glasses with warmth in her eyes and dimple, wearing patterned blouse in an indoor public space.
Hayley Hudson (she/her) is a Deaf actor and storyteller with over 20 years of experience in theatre. A passionate advocate for Deaf-led performances, she co-founded Deaf Spirit Theatre to amplify Deaf voices on stage. Hayley’s extensive Shakespearean credits, including The Tempest and As You Like It, reflect her deep connection to his works. One of her dreams is to bring more of Shakespeare’s plays to life in American Sign Language, blending timeless themes with Deaf culture. Hayley strives to inspire audiences and expand Deaf representation through storytelling.
Thank you to my family and my two black cats Adriel and Brownie for letting me go be in this production.
Image Description: White lady with brown wavy hair on one side with grey dark sweater. White background
Creative Team
Suchiththa Wickremesooriya (he/him) is a theatre-maker and performer who is known for work that is physical, grounded and for theatre that includes the Deaf and Disabled communities. He is also a twice Dora nominated producer and twice Broadway World Award nominated actor. His producing work has included theatre for young audiences, a feminist play festival, new works, adaptations and outdoor theatre. He is so pleased to be making his professional directing debut at Theatre Passe Muraille and working alongside Elizabeth Morris to make this happen!
Suchiththa’s goal as an artist is to tell stories that others aren’t considering, and to shed light in dark places so that we can bring things out into the open. He believes that peace can only be found in the light and facing the uncomfortable realities that we all live in. Thank you to Landon Krentz for bringing me onto this project, Sage Lovell for suggesting me and everyone at TPM for their support, particularly Marjorie and Indrit. Thank you, everyone, for your trust.
He is currently co-writing a new play alongside his writing partner, Roselyn Kelada-Sedra, and is also the Associate Artistic Producer for Common Boots Theatre. Catch him on stage whenever someone makes a mistake and casts him again.
Follow on IG and Twitter @SuchiththaW
Image Description: A tall brown-skinned man wearing an orange linen shirt. He has long black hair and a mustache and goatee with some greys in them. There is a tall window in the background.
Photo credit: Kenda Al Yakobi
Elizabeth is an Associate Director for The Little Prince production. She is also a professional Deaf actor and a full member of ACTRA and CAEA. In the summer of 2017, she became Stratford Festival’s first Deaf signing actor in a production called, The Madwoman of Chaillot. She is also an American Sign Language (ASL) coach and consultant for films and theatres. She also works as a Deaf interpreter for several theatres, for their productions. Also, she co-founded a Deaf theatre company called, Deaf Spirit Theatre. In spring of 2017, She graduated at OCAD University, with MDes in Inclusive Design. Her research was based on creating live theatre more accessible and inclusive for the Deaf and Hard of Hearing, including their families and friends. Her exhibition was shown at GradEx 102nd and won a medal for Inclusive Design.
Image Description: A woman with short and blonde hair. She has blue eyes. She is wearing a purple summer dress. She is smiling.
Joanne Weber, PhD (2018) is a CRC Research Chair (Tier 2) in Deaf Education and an associate professor in the Faculty of Education at the University of Alberta, Edmonton, Canada. She is also an artist-scholar, that is, she is a poet, visual artist, playwright and an aspiring novelist. She is also the artistic director of Deaf Crows Collective which aims to provide opportunities for theater performance and artistic expression by deaf actors and artists of all ages to celebrate deaf culture and foster relationships between hearing and deaf communities.
Image Description: Woman with shoulder length brown hair, blue eyes, blue wire framed glasses, wearing purple and grey flecked jacket.
Photo Credit: Murray Valiaho
Olivia Etey is a playwright, producer, and the creator of the Or Festival, a 10 minute play festival that seeks to create a bridge between the Deaf and Hearing Theatre Communities in Canada. (www.orfestival.com) She graduated from UBC with a double major in Creative Writing and English Honours. Her produced plays include: Foreplay, her musical: The Midnight Serenade, Living on the Grid, The Hoarder, and her juke-box opera Forever Hold Your Peace. Olivia’s play Woman Against Gravity was short-listed for the Lee Playwrighting Award. An excerpt of her bilingual play Emberré Váltam/I’ve Become Human Again, written in Hungarian and English was recently showcased in Rice & Beans Theatre’s DBLSK Program. Olivia is elated to be a part of this show and grateful to everyone who supports the Visionary work of Theatre Legend, Landon Krentz.
Image Description: Caucasian woman in her 20s wearing a maroon pea coat and smiling enormously.
Photo Credit: Cynthia Bhourji
Micah Champagne is a queer artist born and raised in Toronto. Micah has had a love for the arts and theatre since they were young. She has worked as a technician and creative in the city for almost 10 years. She served as Technical Director and hopes you enjoy the show. Special thanks to my wife who did a lot of sewing.
Image Description: Micah standing with one eye closed looking in to the distance. They are wearing a big black coat and have purple hair. Thy also have s black hat with the text ” Gender freedom club”
Photo Credit: Ross Leonard
Michelle Soicher is a director, stage manager, production manager and theatre creator. She was born in Toronto and moved to Montreal in 2012 to study at Concordia University. After graduating, she stayed in Montreal for 5 years, creating, collaborating, exploring different methodologies. She developed her personal artistic practice and worked with institutions like The Segal Centre for Performing Arts, MainLine Theatre, Black Theatre Workshop and Teesri Duniya Theatre. Since moving to Toronto, Michelle has worked with Peggy Baker Dance Co., Coal Mine Theatre, Education Arts Canada and more.
Her independent theatre company, Michegas Theatre, has produced two original works for the Montreal Fringe Festival: Spiral (2021) and Games I Don’t Want to Play (2023), which was nominated for the MainLine Creativity Award. In her original work Michelle’s practice is playful, interdisciplinary and responsive. Her creative process is inspired by Jewish traditions of debate, resilience and joy.
Image Description: Michelle Soicher, a badass Jewish artist lady, smirks at the camera wearing a black tank top under a bright red jacket. Her hair is very curly and she is wearing red lipstick.
Photo Credit: Emelia Hellman
Choreographer, director and performer Julia Taffe was born in Toronto and raised in Ontario, Alberta, Manitoba and Yukon. Her ancestry is Jamaican/Irish-Polish. She lives in Ucluelet, BC, which is situated on Yuułuʔiłʔath territory.
20 years ago, Julia founded Aeriosa Dance Society, a BC-based non-profit which uses rope-and-harness rigging to ‘dance on earth in air’, with trees, on buildings and in the theatre.
Since 2001 Julia and her collaborators have created more than 101 site dance performances for landmarks including Stanley Park (Vancouver), Pacific Rim National Park, Stawamus Chief Mountain (Squamish BC), Taipei City Hall, Sha Tin Centre (Hong Kong), Paklenica National Park (Croatia) Cirque du Soleil (Montreal), Vancouver Library Square, The Banff Centre, and the L Tower (Toronto).
Julia was awarded the Dance Victoria Chrystal Dance (2023), The Dance Centre Isadora Award for Excellence in Choreography (2018) and the Canadian Dance Assembly Innovation Award (2012). She attained ACMG Rock Guide certification in 1997.
www.aeriosa.com
Colin is a mountain guide (ACMG, IFMGA) and has worked in mountain guiding and avalanche safety operations since 1980. Colin joined Aeriosa dancers on over 100 vertical dance productions located on exciting venues such as mountain cliffs, limestone canyons and sea cliffs, towering old growth forests, skyscrapers (including the L Tower in Toronto!) and in theatres.
His responsibilities include safety planning, dancer and worker training, rigging design, and authoring the Aeriosa Dancer Safety Manual.
Collin still works as a lead ski guide and consultant for ski areas, backcountry heli and snowcat ski operations, and as a professional avalanche educator.
Outside North America his work training mountain professionals finds him to Europe, Japan, Argentina, and Iceland. Colin has worked in TV and Film productions as a mountain safety technician.
Certifications include SPRAT (rope access), ACTSAFE fall protection, ACTSAFE aerial lift operator, and SARMED first responder.
Image Description: This is a head shot of a 60’s something, silver haired man wearing sun glasses, ball cap, with a Gor-Tex waterproof jacket. He is walking up a snow slope on skis in Iceland, with the ocean in the background.
Photo Credit: Jón Gauti Jónsson
Kayla Thomas (she/her) is privileged to be originally from Vancouver, the unceded traditional territories of the Coast Salish Peoples, xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. Her ambitions centre around impactful entertainment that showcases diverse forms of storytelling, a commitment she aims to carry throughout her stage management career in Toronto. Credits Include: Alligator Pie (Soulpepper Theatre) Roberto Zucco (Buddies in Bad Times), Dream in High Park: Hamlet (Canadian Stage), The Waltz, Armadillos (Factory Theatre), Behind the Moon, Three Women of Swatow (Tarragon Theatre), Heartless (Favour the Brave Collective).
Image description: Black and White picture of young female, with long straight hair. Head is slightly tilted to the left.
Alexandra Hickox is a professional photographer and filmmaker with a Bachelor of Fine Arts in photography from Ontario College of Art and Design University and a master’s degree in film production from York University. After graduation, she worked in film production, theatre, and site installations. Alexandra founded Undivided Productions, one of Canada’s few deaf-led film and videography production companies, with numerous projects to her name. In October 2023, she hosted the inaugural Unify Deaf Film Festival. Recently, she acted in The Accused (Fox), directed by Oscar-winner Marlee Matlin, and The Last Car, directed by John Greyson. She also served as an on-set photographer for Greyson’s Photo Booth. As a freelance filmmaker, she edits for a popular talk show hosted by Melissa Elmira Yingst and collaborates with Chris Corsini on accessible music videos. In 2022, she created the immersive artwork Can You Read My Hands?, challenging hearing world perceptions through a Deaf artist’s lens.
Image Description: A woman with medium-length blonde hair, sitting on a stool, smiling with green eyes, wearing a beige shirt and a black skirt.
Photo Credit: Ebony R. Gooden
Nicole Eun-Ju-Bell is a Toronto based, Korean-Canadian multidisciplinary artist. Among other things, she is a lighting designer, projection designer, XR Artist, and production manager. She works with various Toronto-based theatre companies and has curated and presented work at local and international festivals including: Prague Quadrennial 2019 and 2023, Summerworks 2022, Luminato 2022, and the Venice Biennale 2024. In the XR world she performs with the award winning Ferryman Collective and collaborates with Single Thread Theatre Company as the Venue Producer for the PXR conference.
Photo Description: A mixed-race asian woman with shoulder length brown hair wearing a colourful green and pink t-shirt over a white turtleneck. She wears red glasses and is smiling at the camera
Photo credit: Tyson Mol
Chris-Liz is a Queer Afro-Indigienous designer, writer, and director interested in experimenting with audience agency, intertwining design into play creation, and making the audience embrace their playfullness.
Select Credits include:
Sound Designer for Maanomaa, My Brother (Canadian Stage/Bluebird), Head Technician for No Save Points (Outside the March/Starvox/Modern Times). Co-Creator of the Untitled Video Game Project (Tarragon/Pickles). Writer/Director of Continue?(Theatre Direct). Artistic Director (Pickles Theatre Company)
Image Description: Photo of Chris-Loz, looking cheekily to the side with shoulder length blonde tipped locs. They are wearing a pastel green paisley button down.
Alessio is a Deaf and queer artist hailing from Italy, currently residing in Toronto. Having earned a degree in Illustration, he thrives as a freelance illustrator, engaging in collaborations with individuals and businesses not only within the Deaf community but also extending beyond. Alessio’s artistic prowess has been sought after for diverse illustration services, ranging from theater projection design to social media aesthetics, event posters, and artworks for museums. Fueled by a fervent passion, Alessio is committed to ongoing collaborations and channeling his creative talents towards various impactful causes.
Image Description: Alessio had short dark hair, silver hoop earrings and is wearing a leopard sweater.
Ashley Naomi (she/her), is a trans femme theatre artist, performer, and sound designer. Excited by fusing lines between emotions, genres, and mediatic forms, Ashley’s creative process uses a postmodern, kaleidoscopic approach influenced by remix culture, to evoke feelings of synesthesia.
As performer-creator, in 2024 her original projects Hip Hop 100 and digitrans//analogirl were respectively presented via Tarragon Theatre’s Greenhouse Festival and a staged reading with Dead Name Theatre.
Recent sound design credits: Gringas (First Born Theatre), Isle of Demons (Guild Festival Theatre), Every Day She Rose (Black Theatre Workshop, additional composition), Timon of Athens (Dandelion Theatre). Upcoming: Chez Moi (Elizabeth Staples), Regarding Antigone (Sort Of/Sky is the Limit/Infinithéâtre), Talking to Dead Cats in the Night (Arrowwood/Bygone Theatre).
Ashley is an alumni of Paprika Festival’s Sound Design Lab, Confluence Concerts’ Side by Side, Nightwood Innovators, Toronto Fringe’s TENT, and Black Theatre Workshop’s AMP among others.
Image Description: A brown-skinned woman with long, curly hair, wearing glasses and smiling at the camera. She is wearing a white dress with light dots.
Shawn Piccione
Adriana Bogaard is a multi-disciplinary artist originally from British Columbia. Her work as a designer of sets and costumes has been featured in short and feature films, operas, and plays. Recent theatre credits include Jesus Christ Superstar (Talk is Free Theatre), The Little Mermaid (The Capitol Theatre Youth) and the Glenn Gould School’s Chamber Opera. Her film work as a production designer can be seen in The King Tide (TIFF 2023); she also served as art director for Atom Egoyan’s Seven Veils, which is currently in theatres. She is an alumna of the University of British Columbia, the National Theatre School, and the Banff Centre.
Image Description: A photograph of Adriana Bogaard in her home studio
Photo Credit: Jason D’Souza
Jan Venus
Carmina Pascutiu (she/they) is a Romanian, multidisciplinary, community-based artist, writer, and designer, working in theatre and film. With a diverse background in production design, set decoration, antiques, and restoration, Carmina brings an unbridled passion, unique vision, and devoted craftsmanship to each project she undertakes.
Oren is a scenic carpenter with a deep interest in using his skills to facilitate the creation of meaningful art. He hopes you enjoy show!
Image Description: A photo of Oren Bowes
Special Thanks
Note of Gratitude
This project has been a journey filled with challenges, discoveries, and immense personal growth. I want to express my deepest gratitude to those who have stood by me throughout this process:
● Dima Polyachikhin – for being my unwavering support through the highs and lows, always grounding me when the stress of this project felt overwhelming. Your encouragement meant everything to me.
● Ebony R. Gooden – for being a thought partner in deep, reflective conversations that have shaped my artistic journey. Your insights have helped me see my work in new ways.
● Suchiththa Wickremesooriya – for your dramaturgical brilliance and your fearless commitment to this project. Your willingness to jump into my world with me has been invaluable.
● Marjorie Chan, April Leung, Indrit Kasapi, Shanae Sodhi, Angela Sun, and Jen Sartor from Theatre Passe Muraille for believing in this project and securing a
mentorship grant with Suchiththa, allowing us the space and resource to develop this work. You gave us a platform to a Deaf-led project that’s rarely ever seen in Canada.
To everyone involved, your dedication and trust in this vision have made this adaptation of The Little Prince possible. It’s more than just a show, it is a statement about the power of Deaf-led theatre. I am honoured to share it with you.
Tru-biz heart-touch,
Landon
Thanks to Boaz Zecharia.
Up Next!
Up next at Theatre Passe Muraille:
Cispersonnages en quete d’auteurice
Apr. 24 – 27, 2025
More info here!
Graphic design by Emily Jung
Photo by Thibault Carron
Sponsors:
TPM Season Sponsor:
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