Lifeline Theatre’s “Kid Prince and Pablo,” 2025, with Jesús Barajas and Brian Nicholas Carter/Photo: Jackie Jasperson
RECOMMENDED
Lifeline Theatre’s “Kid Prince and Pablo” is a fresh and funky spin on Mark Twain’s “The Prince and the Pauper,” adapted by Brian Quijada, directed by Raquel Torre and with music composed by Marvin Quijada.
Joshua Zambrano is Prince Maximus, aka Kid Prince (it’s his “rap name”). He is the successor to the throne of a kingdom ruled by a racial autocracy that has deemed some art illegal (like hip-hop) and other art not (like ballet and classical music)—you might guess which race is top dog. Jesús Barajas plays Pablo, a Hispanic lad with a penchant for crafting beats, who defies the crown’s decree to beat a bucket on the street corner for tips. In a twist of fate, the Prince meets Pablo, and they swap identities so that the Prince can infiltrate the revolutionaries and experience real hip-hop. A turn of events sees revolutionary forces rising in opposition to the monarchy, and it’s up to the Prince to regain his throne before Pablo and the revolutionaries are brutalized following an attempted political coup—but is Pablo ready to give up the position?
The music style is reminiscent of 1990s-style rap, with a focus on sparse beats coupled with intricate rhythms and witty turns of phrase. The experienced rappers drop bars making fun of the Prince’s lame lyrics about mundane activities (like his morning routine), and how he begins each new phrase with a gauche “uh, yeah, yuh… .” Despite their chiding, the revolutionaries set the Prince straight, tightening and enlightening both his lyrical flow and awareness of the living conditions of his people.
Lifeline Theatre’s “Kid Prince and Pablo,” 2025, with Jesús Barajas, Bryan Nicholas Carter, Terrence Mayfield, Jr. and Shaina Toledo/Photo: Jackie Jasperson
Every character is upbeat and comedic, which is tempered by the metaphor of their living in intense poverty and under authoritarian rule. Barajas as Pablo is gentle yet expressive in the role of the shy outsider who uses his wits to narrowly escape detection by his supplicants. Zambrano is sufficiently insufferable as the Prince, which makes his epiphany moment all the more satisfying. The supporting ensemble—Bryan Nicholas Carter, Terrence Mayfield Jr. and Shaina Toledo—each pull triple duty playing other characters with panache, and they still have the energy to punctuate every other scene with song-and-dance numbers (choreography by Kasey Alfonso).
Scenic design by Harrison Ornelas recreates the sense of a grimy dystopian city, and the set’s vertical orientation makes it feel like the action is taking place atop or below a tall building. Lighting design by Brenden Marble makes good use of vertical and horizontal LEDs, their neon glow giving the nostalgic atmosphere of a future city qua Ridley Scott’s. Costume designer Jazmin Aurora Medina creates some wonderfully intricate outfits (although I can’t imagine what went through their head when they were told the style is a mix of medieval, cyberpunk, nineties hip-hop and “Les Misérables”).
Lifeline Theatre’s production of “Kid Prince and Pablo” is a worthy successor to Twain’s classic story, updated for modern times and modern tastes, with universal truths that are well-worn in prose but are worth repeating.
“Kid Prince and Pablo” runs through February 16 at Lifeline Theatre, 6912 North Glenwood. Showtimes are Fridays at 7:30pm; Saturdays at 2:30pm and 7:30pm; and Sundays at 2:30pm. Tickets are $45 for general admission, $20 for retired military personnel and students (with ID), $35 for seniors, available at lifelinetheatre.com.
