Chicxulub or The Devil's Flea

KW And how did that become the story you’re now bringing to the stage?

DWS It was important to me that the story wasn’t just about the prince, but also about a princess — his sister. Both of them play an important role, and I didn’t want to tell a love story. In my version, the prince and princess learn to deal with difficult things through video games. Just like in games, they choose avatars — in our case, they’re superheroes. I hope that when children see this, they recognise themselves in the characters and understand that you can only win a fight if you fight fairly, and that you can only overcome something bigger if you work together.

KW Did video games play an important part in your own childhood?

DWS When I was a child, we only had one television at home. If I was playing video games and the news came on, I had to turn the game off, even though I really wanted to keep playing. That often led to arguments with my parents: should I see what’s going on in the real world, or could I stay a bit longer in my fantasy world? And I think that’s actually a great image for the world we live in today. Back then, the fight was over the TV — today, something similar is happening on social media. That’s something I reflect on in the piece: the princess and the prince move between reality and the digital world. Sometimes the two blend together, and reality can feel like a bad fantasy. The prince and princess have to deal with that. So it’s also about finding your way when reality and fantasy are no longer clearly separated — and still choosing your own path.

KW Do you personally like to escape into video games?

DWS I love the aesthetics, the colours, and especially the music from video games. That’s why we’ve deliberately used music from games in the piece. I think video games are an artistic genre in their own right, just like film or theatre. And the fact that this music is now not just heard while gaming, but also on a ballet stage — I think that’s fantastic!

KW The title of your piece is Chicxulub or The Devil’s Flea. Where does that unusual title come from?

DWS Chicxulub is the name of a real place on the Yucatán Peninsula in Mexico. Millions of years ago, a massive meteor is said to have struck there, and its impact wiped out the dinosaurs. I found that very exciting, because it was an event that changed the entire world. The name Chicxulub comes from the Mayan language and means something like “the devil’s flea”. That immediately fascinated me! Our piece is set in a kingdom called Chicxulub — and yes, there is a devil in the story. The character is a kind of superstar, never quite tangible, but it sets many things in motion. And of course, a dinosaur had to be part of the story. It not only echoes the title, but also drives the plot forward and serves as a symbol of a world that has vanished, yet continues to live on in children’s imaginations.

KW What’s exciting about making a piece for children? And what do you find particularly challenging?

DWS Honestly, I see myself as a child, and that’s why I create pieces I’d like to see myself — but that don’t yet exist. In Chicxulub or The Devil’s Flea, I wanted to tell a really big story. It takes us from dinosaurs and classic fairytale figures to a TV news show and even into outer space. It’s a bit like a mix of video game, comic book, and adventure film. It’s an amazing experience getting the whole team on board and sharing my imagination in a way that brings it to life on stage. Almost every few minutes, something new happens: a different scene, a surprising twist, a new character, or a change in music. It should stay exciting, so that not a single second feels boring.