Some characters stay with audiences long after the curtain falls, and in Annabelle Lopez Ochoa’s The Little Prince, the Snake is one of them. Mysterious, magnetic, and quietly transformative, the Snake serves as both narrator and guide, weaving together one of literature’s most beloved stories through movement. This summer, BalletX dancer Ashley Simpson takes on the role for the first time, honoring Stanley Glover’s unforgettable original interpretation while bringing her own artistry to the stage. We sat down with Ashley to talk about stepping into an iconic role, finding humanity in a complex character, and what audiences can expect from this timeless ballet. Plus, check out video from Ashley’s recent preview performance on PHL17 Morning News!
You’re stepping into one of the most memorable roles in The Little Prince. What was your first reaction when you learned you’d be dancing the Snake?
When I was pulled aside by Associate Artistic Director Tara Keating and told that I would be the Snake, I was completely shocked. One of my first memories from discovering BalletX and looking at videos, as someone who aspired to be in the company, was seeing footage of Stanley Glover in a beautifully designed sparkly black unitard, dancing with abandon in a production that I would later find out was The Little Prince. I remember noting his long legs, the cane that he whipped around with ease, and the incredible finesse that he brought to this original role. More than anything though, I remember hearing the praises and adorations from all who saw him in this role, an impression lasting even years after it had premiered. With all of this in my mind, as I was informed I would be the next Snake, I was filled with anticipation for the process. It would be hard, but I was up for the challenge and excited for the opportunity for artistic growth. I had one year of overlap with Stanley Glover after I joined BalletX – right before he took his talents to an award winning HBO show – so I was able to witness his greatness up close. I also was able to work with choreographer Annabelle Lopez Ochoa on a different piece my second year in the company. Because of this I feel as though the opportunity to be the Snake in our production of The Little Prince is so serendipitous. After I found out, I called my family, and told friends who love the book!
In this production, the Snake represents mortality, transformation, and the thread that connects the entire story. How did you approach embodying such a layered character?
It was interesting to read Annabelle Lopez Ochoa’s adaptation of the story, because of the Snake’s role as central villain and narrator. I am a big Hamilton fan, so I liken my role to Aaron Burr, the man in Hamilton who narrates the story and eventually kills Alexander Hamilton. There is room for nuance, characterization, and humor, but at the end of the day this role needs to successfully represent death, and the transformation of life’s many stages. My approach was to follow the story as authentically as possible, meaning that as new characters are introduced, I am along for the ride with them. As I rehearse this role, I am finding that what works best for me is to let the momentum of the piece inform my decisions. Letting go of control and giving way to the other characters in the story. Letting them influence the way I react is the best way to stay inside of the world, and let the events unfold at a natural pace.
The original production featured Stanley Glover in this iconic role, and his interpretation became unforgettable for many audiences. Did watching or reflecting on his performance influence your approach, or were you intentional about creating something entirely your own?
I am in love with Stanley’s interpretation of the Snake and care deeply about honoring his version, since he was the original dancer and a lot of the steps were created either by him or with him in mind. Stanley had a way of moving that was so snakelike, and even the way he stood still on stage – hat over his eyes, cane in hand, and just looking out at the audience – could portray countless feelings and intentions. I aspire to achieve everything that he did with this role, but of course I am hoping to add some of my own “Ashley’isms” to make it something that feels uniquely mine.
This year’s remount marks the first time the Snake is being performed by a female dancer. How, if at all, has that influenced the way you interpret the character?
To be honest, me being a female dancer has not influenced the way that I interpret the character as much as I would have thought. Yes, there are things that aren’t as possible for me to do – full press lifts above my head and such – but I am performing most of my choreography without any gendered intention behind it. There are a few moments with whispers of flirtation, or partnered sections that may read differently now – so I am ready for the journey of how those moments will reveal themselves onstage!
The Snake is both graceful and unsettling, often communicating through subtle movement rather than overt emotion. How do you find that balance on stage?
It’s an interesting balance! Something that will work in my favor is how intimate the space at the Suzanne Roberts Theatre is. It would feel inauthentic for me as the Snake to be overly theatric in my facials and body language, and in a bigger space something like that would be necessary. I really want to take my inspiration from Stanley here, because he managed to do these beautifully subtle movements that took him from person to creature, in the best way.
Without giving too much away, is there a particular moment or scene in the ballet that you especially enjoy performing as the Snake? Why does it resonate with you?
I love the opening solo! There’s something about it that really just sets the audience up for the piece, and introduces the Snake so well. It is also great getting to break the fourth wall by staring out into the audience and making eye contact with multiple people, before turning back into the production. To me it is kind of saying ‘welcome to the party,’ in my own snakey way.
Annabelle Lopez Ochoa’s choreography blends theatrical storytelling with contemporary ballet. What has it been like working inside that movement language, especially in such a central narrative role?
It is so amazing working within this movement language. As a central character, it’s really freeing actually to be able to dance in multiple styles to portray an idea or a theme. In this piece, dancers are en pointe, in ballet shoes, and in socks. For me it’s truly a gift to have a narrative piece be done on our contemporary ballet company, because it allows for more ways to get a storyline across. To me, it wouldn’t make sense for the Snake to be en pointe, because I need to be able to crawl slither, and slink, and that can read better in a contemporary movement language. Annabelle also has such a great way of making movement that is musically focused, and dynamic. Throughout the piece there are such creative ways of moving. It is a ballet that we can bring back years from now and it will still feel one-of-a-kind, timeless, and unique.
If you could describe your interpretation of the Snake in just three words, what would they be, and why?
Sass, Solitude, and Service. The Snake is a character that is on her own the entire journey. She can’t influence outcomes of others but she can push them along to reach the destination they were heading towards. She has a goal of taking the Little Prince on to his next destination, but there are obstacles in her path, the Little Prince himself being an obstacle. But once he decides he’s done with this world, the Snake is ready for him. And their relationship goes from one of conflict, to one of symbiosis. Although the snake bites him and threatens their happy ending, they still are able to make it to multiple planets and have countless adventures. It’s the Little Prince who ultimately has his destiny in his hands, and he makes the decision to ‘leave.’ The pilot fixes his plane with the help of the prince and after a life changing journey, leaves for Earth. The story ends, but where does that leave the snake? Alone again in this wide universe, ready to bring the next soul to its end. The snake is the best narrator to serve the storyline because it’s telling the audience that it wasn’t about the Prince getting his rose or the pilot fixing his plane. The gift was the journey. “What is essential is invisible to the eye.”
