Cinderella at 80, Part 5 — My Life with Cinderella

Sergei Prokofiev, c. 1918. Photograph from the George Grantham Bain Collection, Library of Congress. Public domain

Eighty years ago, in the midst of a world at war, Sergei Prokofiev brought to life one of ballet’s most unforgettable heroines — Cinderella. In his hands, a familiar fairy tale became a story of resilience, grace, and hope.

In this five-part series, I revisit Cinderella as both artist and admirer — tracing her journey from ancient myth to the stage, through landmark productions, and finally to the ways she continues to inspire movement and creativity in my own work.

Adapted from a compilation of my own research, writing, and choreographic exploration, this series celebrates the cultural, musical, and personal legacy of Prokofiev’s masterpiece.

Join me in honoring eight decades of transformation, beauty, and magic.

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Cinderella at 80: My Life with Cinderella

For many dancers, Cinderella is a role to perform; for me, it has been a lifelong companion in movement, imagination, and artistic growth. From my earliest experiences as a student performer to choreographing my own productions, Cinderella has been both a mirror and a guide — reflecting the challenges, joys, and creative possibilities of ballet while inspiring personal insight into the story’s timeless themes of transformation, kindness, and grace.

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Early Encounters: The Student Stage

My first time performing in Cinderella - Carroll County Dance Center and Conservatory, 2011.

My first encounter with Cinderella was as a student performer, stepping into the role of the Prince — one of my first leading roles and my first experience partnering. However, the pressure of this milestone passed easily because of the joy of the production. I was captivated by the music and the style; part of me learned at that moment that not all ballets are the same, nor should they be performed the same way. Partnering, precise timing, and the choreography’s emotional nuance demanded not only technical skill but also an understanding of narrative pacing. Even as a student, I was struck by the ballet’s capacity to balance comedy, pathos, and magic — a dynamic that has continued to shape my understanding of performance.

Cinderella, Turning Point Dance Academy, 2017. Photo: Marc Stillman.

Later, I co-directed and choreographed another student production. This experience allowed me to approach the ballet from a broader perspective: designing stage layouts, shaping character arcs, and guiding young dancers in bringing their roles to life. It remains among my favorite experiences in choreography. I was deeply invested in Cinderella as a story and as a ballet, and I wanted my choreography to communicate the messages I had learned from my previous work on the production. I aimed for both the audience and the students to have the best possible experience, and I will always remember how well the show was performed. Each dancer had a role not just in technical execution but in conveying the emotional heart of the story.

The most recent time I performed in Cinderella, I took on the role of the Dancing Master, a memorable comedic highlight from Act I (and a typecasting nod to being a faculty member). This production was largely based on the version by Lew Christensen and Michael Smuin, and my choreography was largely unchanged. I felt fortunate to perform in this historical version while also having the opportunity to dance all three of the major male roles.

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Professional Engagements: Exploring Character and Style

Cinderella, Ballet Theatre of Maryland, 2015. Photo: Courtesy of Ballet Theatre of Maryland

Dianna Cuatto choreographed her own production of Cinderella, professionally performed by the Ballet Theatre of Maryland, once in 2008 and again in 2015. I was lucky enough to perform in the 2015 production, in which the role of the Court Jester was added, a role I was honored to originate. I have the fondest memories of this production, and it remains my favorite ballet that I performed with the Ballet Theatre of Maryland. Her version uniquely added the presence of Cinderella’s deceased father appearing to her as a ghost. The music lends itself to this interpretation very fittingly, and his presence gave way to moments of tender partnering. Indeed, the role of Cinderella, perhaps because of the presence of the Father, took on more psychological nuance. A moment that stands out in my mind is the opening of Act III, where Cinderella both reminisces about the Ball and grieves that the opportunity is lost. For me, Cuatto’s choreography captures the essence of this scene most effectively. There were also beautiful, flowing sequences for the fairies. I personally had so much fun performing the high-energy choreography and the extraverted personality of the Jester. His character in the ballet is always positive, even with the Stepsisters. Tapping into the zaniness of playing a “fool” clown always gave me enjoyment with each show. This comedic character allowed me to explore expressive freedom, timing, and audience engagement in a playful, improvisational way. Performing as the Jester taught me the joy of creating a space where both humor and humanity coexist on stage.

Cinderella and the Prince, Unmasked, from Cinderella Abstraction, 2017. Photo: John Maloney

In addition to choreographing a student production, I had also choreographed Cinderella Abstraction, and I most often perform one of its excerpts, Unmasked. This choreography, created for pianist Sarah Barham’s Senior Recital at the University of Maryland, was a collaboration with composer Pablo Salazar, who created a new arrangement. When beginning the choreography, I reviewed all of the source material, but I especially explored the myth of Eros and Psyche as retold by C.S. Lewis in Till We Have Faces. For an “abstraction,” returning to the mythic version of the story seemed appropriate. I concentrated on three central themes: “goodness attracts goodness,” “love cannot exist without trust,” and “seeking to better understand the work of the Divine.” In presenting this piece, I knew my chief goal was to clearly articulate these themes. Stylistically, in the choreography, I tried to match Prokofiev’s style in the music. While I used a largely classical base, my idea was to liberate the technique to be as expressive as possible and to create a sense of liberation and abandonment into something that was beautiful, intimate, and loving. I also wanted to add elements of American jazz and Slavic folk styles into the choreography to complement these different music styles. This nuance has been commented on by my friends, colleagues, and professors who have seen the choreography. The Unmasked excerpt takes place at the ball. Cinderella and the Prince meet in disguise, their initial hesitation masking vulnerability. Through movement, we see them drawn together by mutual goodness and openness, gradually shedding their masks and surrendering to one another.

The first performance was extremely memorable and rewarding. I was so happy to support my friends and colleagues, as well as collaborate with live musicians. It was wonderful to receive their feedback when they saw effective movement coordinated with their music for the first time. The dancers whom I worked with were perfect, and I will always be thankful to them for supporting me and bringing my ideas to life. Up until that point, I had done professional work choreographing folk stage dances, but in many ways, this was my first time choreographing in this way. Since then, I have sought to continue cultivating this style while choreographing with thoughtfulness and love.

Unmasked, from Cinderella Abstraction, 2017, a collaboration between pianist Sarah Barham, composer Pablo Salazaar and choreographer Roman Mykyta to present excerpts from the Piano Suite, Op. 102, and Orchestral Score, Op. 35 from Sergei Prokofiev's Cinderella. Photo: John Maloney

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Lessons in Artistry and Humanity

Working with Cinderella has shaped my understanding of ballet as both an artistic and human endeavor. The story encourages performers to embody virtues such as grace, patience, and empathy. Cinderella’s journey from subjugation to self-realization offers dancers a template for emotional truth on stage: balancing vulnerability with confidence, humor with dignity.

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Teaching and Mentorship

Performing in student productions has reinforced my belief in mentorship and education as key aspects of Cinderella’s legacy. Teaching dancers to inhabit characters fully, to understand musical phrasing, and to engage with narrative context is an act of passing on not only technique but also artistic insight. In guiding young performers, I have witnessed moments of personal transformation: the joy of mastering a challenging variation, the delight of embodying a beloved character, and the exhilaration of creating beauty collectively. These experiences mirror the transformative journey of Cinderella herself, underscoring the ballet’s timeless relevance.

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Cinderella as Personal and Artistic Inspiration

Cinderella, Unmasked, from Cinderella Abstraction, 2017. Photo: John Maloney

Over time, Cinderella has become more than a ballet for me — it is a touchstone for artistic reflection and personal growth. It exemplifies the union of music, choreography, narrative, and performance in a way that challenges and inspires. The ballet’s themes of resilience, hope, and grace continue to resonate in my life, informing both my approach to choreography and my understanding of human experience.

Performing and choreographing Cinderella has also offered insights into the universality of storytelling. Despite cultural or stylistic differences across productions, the core narrative — the triumph of virtue, the power of transformation, and the beauty of grace — remains compelling. This universality is a reminder that ballet, at its best, transcends technical achievement to engage deeply with human emotion and imagination.

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Looking Ahead

As Cinderella celebrates its 80th anniversary, I am filled with gratitude for the opportunities it has provided me as a performer, choreographer, and teacher. Each production I have been involved in has offered a fresh lens through which to view the story, whether through historical reconstruction, contemporary reinterpretation, or student engagement.

I look forward to future performances, new choreographic explorations, and continued dialogue between generations of dancers and audiences. Cinderella’s enduring power lies in its capacity to evolve while retaining its emotional and moral essence. It is a ballet that invites us to explore our own capacity for grace, resilience, and transformation — both on stage and in life.

For me, Cinderella will always be a source of joy, inspiration, and artistic growth. It is a reminder that stories can teach, transform, and uplift — and that dance, as a living art form, allows us to bring these stories to life with authenticity, creativity, and heart.