By Borisav Matić
We often assume that the ideal life should balance both security and freedom. But this idea overlooks a harder truth: freedom and security often stand at opposite ends of the spectrum. To gain one, we usually have to give up a bit of the other. True freedom comes with risk, while security often demands limits. This trade-off is true in our personal lives, in society, and especially in childhood—when growth itself requires stepping into the unknown.
On the second day of the Novi Sad Theater Festival, two performances tackled this very tension in their own unique ways. Though stylistically different, The Adventures of Little Juju and The Pilot and the Little Prince both explore a key idea: there is no growth without stepping outside the comfort zone.
The Adventures of Little Juju – City Puppet Theater Rijeka, Croatia
Aimed at children aged three and up, this charming production is based on the popular children's song by Žarko Roja and Petr Bergam, adapted by Ivana Đula and Milica Sinkauz and directed by Renata Carola Gatica. The story follows little Juju, a boy who enjoys a quiet, cozy life at home with his parents and animal friends—except for one thing: he’s haunted by an irrational fear of crocodiles.
To overcome this fear, Juju must do something brave—visit a real crocodile at the zoo. What begins as a terrifying journey turns into an adventure of self-discovery. Not only does Juju overcome his fear, but he also forms an unexpected friendship with the crocodile, who, inspired by their meeting, decides to leave captivity and return to the Nile. The result is a gentle metaphor for growing up: real development comes only when we take risks and confront what scares us.
The production is lively and imaginative, with strong musical elements and a playful atmosphere. The cast sings and plays percussion instruments live (music by Ivana Đula), creating a vibrant, fairy-tale mood. Alena Pavlović’s minimalist white costumes and set allow for fluid scene changes, while Sanjin Seršić’s lighting enhances the dreamlike world. The performers bring a range of characters to life with energy and warmth, using only minimal masks and costumes—letting the story and performances shine.
The Pilot and the Little Prince – Ostrava Puppet Theater, Czech Republic
If there’s anyone whose life captures the spirit of risky freedom, it’s Antoine de Saint-Exupéry. A pioneering pilot in the early 20th century, he risked his life in untested aircraft long before aviation was safe. He then took another creative leap with The Little Prince, a poetic novella that was far from guaranteed success. And ultimately, he gave his life flying in World War II, standing up against fascism.
Given this thrilling biography, it’s a missed opportunity that The Pilot and the Little Prince, by the Ostrava Puppet Theater, takes such a safe and factual approach. Adapted and directed by Jakub Maksimov, the play draws from Peter Sís’s illustrated biography of Saint-Exupéry. While informative, the production feels more like a history lesson than an engaging piece of theater.
Using puppets, flying models, and visual effects, the play retells scenes from the author’s life. At times, the visuals—especially when the action speaks louder than words—offer striking and memorable moments. But for the most part, the play relies heavily on narration, limiting its emotional and imaginative potential. The young audience was clearly engaged by the occasional bursts of visual creativity, but overall, the production remains cautious, even static.
This is especially unfortunate given its intended audience. Children and youth deserve theater that not only educates but also dares to be bold. Ironically, while celebrating a figure who took great risks, the production itself avoids them. It stays well within its comfort zone—reminding us that, in both life and art, playing it safe rarely leads to something extraordinary.