As the first note rings through Muriel Kauffman Theatre in the Lyric Opera of Kansas City’s production of Cinderella this September, the palace will appear as a distant silhouette cinematically coming into focus, scene by scene, as the layers of the set shift, until we’re finally inside its gilded halls. Each transition is intended to mimic the turning of a storybook page—subtle, seamless and enchanting.
But this isn’t Disney’s fairy tale. It’s Italian composer Gioachino Rossini’s quirky, irreverent twist, where magic takes a back seat to comedy, leaving out the carriage, Fairy Godmother and glass slipper.
With a closer look, the production’s carefully imagined vision is clear. Vines are curling along the weathered cottage walls, evoking the charm of a traditional fairytale in 18th century Versailles. Costumes showcase subtle pops of color, reflecting a Wes Anderson-esque flair. Somehow, it feels both timeless and new.
That emotion isn’t accidental. The visual details that feel so effortlessly right have been in the works for over a year, created entirely in-house by the Lyric Opera of Kansas City’s production team—an approach that’s rare even on a national scale.
The 75-person crew is led by director of production Tracy Davis-Singh, technical director Rafael Toribio, assistant technical director and lighting supervisor Selena Gonzalez-Lopez and artist services manager Sarah Zsohar.
For Cinderella, they’re collaborating with set designer Steven Kemp. A veteran of Lyric Opera, it’s his seventh production with the company, and as a KC resident, he’s designing for what he calls his “home stage.”
Unlike most companies that bid designs to outside shops, the Lyric Opera constructs everything under one roof at its state-of-the-art design shop. Built in 2012, it’s just one mile from the Kauffman Center for the Performing Arts, home to all mainstage productions.
“It’s very rare that opera companies have an in-house shop,” Kemp says. “It makes it really special when the artisans are building the show that’s going to be on their home stage. There’s more inherent care and concern and pride in the whole project, and it’s more streamlined.”
Building in-house is cost-effective, avoiding shipping markups, and many of the same crew members who craft each piece also load the set into the theater and work backstage once the production opens. “That continuity creates such a great passion for everyone and really elevates the production because you have care and concern all the way through,” Kemp says.
The process for creating Cinderella began last July, with Kemp immersing himself in the score and libretto. Deep research with the team, “beat-by-beat” analysis and 3D renderings followed, and he eventually formed detailed construction plans.
Since the Lyric Opera rents its sets to other companies after use, it must consider reusability in its designs, though Kemp says that never dictates creative choices.
By February, the production team was hard at work in the design shop. Carpenters and scenic artists shaped and painted massive set pieces; cutters, drapers and stitchers crafted costumes; the prop master sourced props and furniture; the lighting team found the perfect fixtures, testing and refining cues.
The set is scheduled to be loaded into the Kauffman Center just a week before opening night, where final rehearsals take place.
According to Kemp, who has designed for over 40 opera companies, what makes moving the sets to the Kauffman stage flow so smoothly is the production team’s leadership and communication, as well as the fact that many staff have design backgrounds, giving them a deep understanding of the work.
“The organization that she [David-Singh] brings as the leader and of the whole production staff is incredible,” Kemp says. “The way that we’ve been able to just focus piece by piece and haven’t been rushed was amazing. They’ve really been able to make sure they have enough time to beautifully create each of these pieces.”
One standout Cinderella piece, Kemp says, is a 1930s Rolls-Royce Emerson Model J. Built entirely from scratch with sheet metal, it serves as the princess’s carriage.
While singing may take center stage on opening night, months of careful work from the production team—behind the scenes and just down the road—were slowly bringing Cinderella to life.
GO: September 27, October 3 & 5. Times vary. The Kaufman Center for the Performing Arts.
