“Cinderella” is one of the most enduring and widely retold stories in the world, with estimates suggesting between 350 and 1,500 variations across different cultures and time periods. Its lasting appeal lies in its universal themes—hope, romance, and the triumph of justice, where goodness is ultimately rewarded. Yet to me, Rossini’s La Cenerentola is ultimately a story about transformation. Each character, not just Angelina, longs for change. In many ways, they are all misfits, each seeking a sense of belonging or renewal.
Each character in this opera is reaching for something just out of their grasp—identity, belonging, and a sense of wholeness. They are misfits because of their heartfelt desire to be seen, heard, and to matter. They are all connected by a quiet ache, or in Don Magnifico's case, a more boisterous one—a deep longing to be truly known and understood.
Rossini’s brilliant score plays with this tension masterfully. It dances between farce and sincerity, between absurdity and emotional truth. There are moments when time seems to stand still—when characters pause to express the chaos of their hearts—only to leap right back into dizzying comic momentum. This theatrical rhythm reminded me, unexpectedly but vividly, of the films of Wes Anderson.
Anderson’s cinematic worlds are filled with whimsical ensembles, stories that teeter on the edge of stylization and deep humanity. His films—like The Royal Tenenbaums, Moonrise Kingdom, and The Grand Budapest Hotel—explore fractured families, misunderstood outcasts, and people desperate to connect. They live in meticulously crafted visual worlds, where time bends, logic loosens, and emotions run high beneath composed surfaces.
This production takes inspiration from that aesthetic. It’s not a literal imitation of Anderson’s work, but a theatrical homage to the kind of world he creates—a world that embraces eccentricity, revels in visual storytelling, and allows comedy and tenderness to sit side by side. It felt like a natural fit for Rossini’s magical universe.
I’m so grateful to have created this production with an outstanding cast, some of the best theatrical designers I know, and the incredible artists and staff at Lyric Opera of Kansas City. It’s been a joy to explore this story together, and I hope that what you see and hear invites you to laugh, reflect, and perhaps feel a little more seen yourself.
Get tickets now for world premiere of Cinderella, directed by Michael Shell, September 28–October 5, 2025 at Kauffman Center for the Performing Arts.
