Marianne Carruth Bringing the Little Prince to Life

I was walking my dog down Trade Street running errands back in May when a car pulled up in the parking lot of St. Luke's Thrift shop, stopped in my path, and a blond head popped out the window and said, "Will you do the make up for The Little Prince?" How could I say anything but "Sure. Um, can I see the script?" I followed her over to the Tryon Little Theatre workshop and entered a swarm of excitement as children arrived to audition with their parents in tow. Summer break had barely started and here were kids ready to dive into a world of theatre that meant memorizing lines, following a rehearsal schedule, and spending most of their summer learning while they played.

Now as they enter production week it's obvious that work has paid off. The kids perform on stage in an amazing team effort as they transform the stage to the colorful, fanciful world of The Little Prince. I was amazed at how professional this group of youngsters appears even at the end of a long evening as they listen to detailed notes from the director to put the final polish on the show. I managed to sit down with Marianne Carruth between technical notes to lighting designer Jimm Brink and a myriad of questions from parents to ask her about working on this production.

How did you get involved directing for Tryon Little Theatre's Tryon Youth Center summer productions?

I home-schooled my kids and got involved with the home-school group teaching classes. Then Eric Kerchner came to town and started using me as a resource for classes at the Tryon Fine Arts Center. I started teaching a lot of classes and when Tryon Youth Center wanted to separate the age groups for the summer production they approached me to direct and I finally acquiesced. This is my second show here I've directed, but really I am an actor. My desire to teach acting led to being a director.

Why did you choose Little Prince for this age group?

I've just always loved that book and was intrigued with the idea of staging it. I like the script and how the drawings from the book were incorporated. It was an important book to me when I was growing up. I enjoy sharing important pieces from my childhood with the kids, like last year with Debussy and Alice. I wanted a script that allowed me to share Debussy with the kids and thought the music would work with Alice in Wonderland. Luckily I found a great pianist to pull it off.

What are some of the challenges of directing this production and how did you overcome them so far?

The book has so many levels and on the surface it's such a simple children's story. But, the emotions that these characters go through are adult and it's very hard to communicate that with the children. So it's been challenging to keep it simple yet impact the adults in the audience. Even kids have been through huge emotional things whether it be with their parents or pets, but to get them to open up with them has been very challenging. Another challenge is the abstract nature of the script and helping the kids to understand that. Their imaginations are there, but they're very literal and have a hard time thinking abstractly.

It's also a very technical show and handling that has been challenging. It's been difficult too getting the ensemble to understand what they need to do and why. Also, we had to find space backstage for two planets, a wall of roses, a flying machine and an airplane as well as 31 kids. The set takes up the entire stage.

I didn't know how I was going to handle the music. I had a 9 year old girl come in to take care of the music and she is marvelous. She takes direction very well and is on stage the whole time.

There are probably 200 tech cues on a 60 page script. So, Jimm Brink has worked very hard to build the light and sound for this show.

How did you prepare the kids for this show?

Mostly what I focus on with the kids is the childhood innocence and playfulness. We played lots of theatre games, especially trust exercises to get the kids used to each other and encourage them to play with each other.

How have the kids surprised you?

In so many ways. Mostly, just their willingness to try something completely new. It's a whole new concept to work as an ensemble. They've been very willing and enthusiastic. I think what I'm asking the ensemble to do is especially difficult. They are running the whole show, moving props and creating imagery and they've been great in getting there.

What do you hope the kids remember from the process?

I really want them to remember this book with not just fondness, but the lessons from it. That what is essential is not visible to the eye.

What do you hope the parents remember?

I don't know. I really hope that the message of the play is about connection and love.

What do you hope the community will get?

I hope they'll be moved and they'll be touched by this strange little man.

What have you learned?

Many things…many many things. For me fitting the technical with the emotional has been tricky. Then fitting the ensemble in around the technical and finally focusing on the relationship with between the aviator and prince. I really appreciate all the parents and all the support from the community to make this happen and say "Yes, let's do this." It's been difficult because I care so much about this story.

What do feel the kids have learned?

It has been very demanding on the kids in terms of discipline. There is not a lot of room for fudging. It's been confusing because we started very creative and didn't start blocking until we had the set. The kids are safest and most disciplined at the moment when one character has to fall into the arms of the cast. They are all very serious about it. We're still making detailed blocking changes and at the same time adding light and sound. The characters go through fear, loneliness, desperation, anger, love, loss, and friendship. It's really teaching them to be vulnerable. Any of these roles would be hard for an adult. It's not a language play, it's about feeling. (laughing) Next year I'll do something simple like Winnie the Pooh or Secret Garden which are very realistic.

I'm not sure when Marianne sleeps this week. She called back early in the morning after a late night of the first technical dress rehearsal to add this to the interview.

It was a very different rehearsal last night. I realized that I'd like for the kids when they are older to think to themselves, "I can't believe we did that!" I'd love for the community to see the show and think "I can't believe these are kids doing this show."

Marianne Carruth lives with her husband, three kids, a dog, and a cat in Pacolet Valley. The Little Prince opens Thursday night and runs through Sunday afternoon at the Tryon Fine Arts Center. Tickets are available by calling the Box Office.