Artistic Director’s Notebook: Kent Stowell’s Cinderella 2026

Dear Friends,

You might see the Cinderella story as a prophetic tale of people who come from different backgrounds finding common denominators in such human qualities as love and kindness. Hmm. Could this story be applicable to our world today? Allow me to take this one step further. When we have preconceived notions of people we don’t know, our impressions can be curious, or dismissive. When we do meet, a golden opportunity for deeper understanding and connection emerges, (just one more step…) and the world becomes a far better place. In my exercise to apply the concepts of Cinderella to the messy world we navigate today, I’m missing one key ingredient: the fairy godmother. Or maybe the fairy godparent is the one who purchased the PNB tickets? Let’s let fairytales be fairytales.

Inspired by the wonderfully nuanced score composed by Sergei Prokofiev, Kent Stowell created a Cinderella that makes us laugh, smile, and swoon. Kent had a knack for pulling together winning artistic teams. Most of his ballets featured lighting by the incomparable Randall “Rico” Chiarelli. Rico had a gift for knowing what Kent wanted even before Kent asked. Their decades-long partnership and friendship helped define PNB in wondrous works and daily problem solving. Rico’s lighting designs are a central part of the magic of Cinderella. Tony Straiges contributed whimsical scenic designs that fill the stage with fantasy. Add Martin Pakledinaz’s elaborate costumes, overflowing with color and character, and a PNB fan favorite comes to life. Kent’s choreography is many things—formal and elegant in the ball, brilliantly comedic in the dancing lessons for the family, and sublimely heartfelt in the final duet for Cinderella and the Prince.

Founding Artistic Directors Kent Stowell and Francia Russell were often in the studio over the past two months working with the dancers you see on stage today. They worked alongside our devoted artistic team of Anne Dabrowski, Jonathan Porretta, Kiyon Ross, and Ezra Thomson. We also welcomed former PNB principal Kaori Nakamura and former rehearsal director Otto Neubert back to the studio to teach and coach dancers.

As you might imagine, so many audience members discover PNB through The Nutcracker. The next visit is often a full-length story ballet like Cinderella or Swan Lake. Perhaps some of you are following this well-worn path and are now attending your second PNB performance. I know many have been coming to PNB for years—collecting treasured memories, expanding your taste in dance, and deepening a love for this artform. PNB offers an incredible array of innovative and entertaining ballets each season.

If you are new to the enthralling world of story ballets, check out Momotaro debuting on the McCaw Hall stage in March. Choreographers Jessica Lang and Kanji Segawa lead an amazing team of collaborators to bring this inspiring story to life. It is a Japanese tale of good people plagued by plundering ogres who live on a nearby island. Momotaro, also known as Peach Boy, saves the day by confronting the ogres, and finding common denominators in such human qualities as love and kindness—just like Cinderella. And the lessons we learn from both ballets help make the world a better place. So, kick off your glass slippers, sit back, and enjoy the magic of ballet and the wonder of Cinderella.

Kind Regards,