An aviator whose plane has broken down in the middle of the Sahara desert experiences a strange encounter with a child, the Little Prince with a gold scarf, who fell from the sky. The aviator sees the world through the eyes of an adult sure of his knowledge and experience and refers to these to repair the plane and save his life. The Little Prince, on the other hand, who seems weak and defenseless, looks at the world as a child, sincere, without mediation. The protagonist describes to the aviator his planet of origin, his encounters with the inhabitants of the other asteroids, his experiences on earth. Telling himself, he becomes the master of the aviator on his journey to rediscover the purity of childhood. In that desert, therefore, we witness the encounter between a six-year-old child who has to grow up and an adult who would like to recover the childish ability to get excited by a blooming rose or to fight sadness with the vision of a sunset. The show is a journey into the worlds of the Little Prince. Our aviator-actor will also try for us to look with the heart, to blush like a child, to observe the invisible that lies beneath the appearance of things. The journey begins with the public entering a spaceship with a hexagonal structure. The story is told with projections of images on the walls of the hexagon, in a game of alternating shadows and lights and the actor's interpretation.

In 1974 the Compagnia Drammatico Vegetale was born, a historic children's theater group, which pays homage to the puppet and marionette theater of the Italian tradition precisely in its name. From the puppet theater to the animation theater then the step is short. Likewise the evolution toward a contemporary puppetry, in which the characters are the product of a plastic interpretation that is no longer artisanal, but artistic. The interpreters-figures tend to become unique pieces, conceived as art objects, images and sculptures above all, whose value lies in their material and shape, in the novelty of the construction method. The animation almost becomes a secondary aspect, as the puppeteer has left the shack, becoming more and more an actor who interacts with his own character-objects. Another important aspect in Drammatico Vegetale's work is the particular relationship she has always sought with sound and music. His shows often contain original musical writings, frequently live performances, also in concert form and with orchestra.