Review: THE RED SHOES, Sadler's Wells Theatre

Bourne's signature blend of technical precision with character driven expressionism shines in his choreography, proving why he remains one of Britain’s most revered director-choreographers. You don't need to be a ballet connoisseur to appreciate the nuance put into each movement, the ensemble seamlessly shifting from stuffy aristocrats to a busybody troupe to comedic vaudeville acts.

Forgoing the original film's music, Bourne instead incorporates pieces by composer Bernard Herrman. Beautifully orchestrated by Terry Davies, they carry the rich cinematic quality such a production requires. Meanwhile Paul Groothuis' sound design blurs the lines of what's real and fiction, rhythmic thunderous applauses blaring into audience applauses that we feel compelled to copy.

Bourne's storytelling is amplified by Lez Brotherston's sumptuous set and costumes. A proscenium arch centres the on and offstage action, transporting us from the opulent Paris to Monte Carlo beaches to a dingy East End vaudeville theatre. That doesn't mean he forgoes modernism, the titular Red Shoes ballet a powerful example as giant white wings and dizzying projections force us into a whole other world away from the main narrative.

Bourne keeps New Adventures cast members at arm's length and it's no surprise why this company has many returning faces, with Cordelia Braithwaite playing Victoria Page in my performance. Capturing her journey from naive ingenue to ambitious prima ballerina with such confidence, you feel her lose herself in the ballet-within-a-ballet as a peasant girl who dances herself to death with such feeling and passion.

Braithwaite shares a rich chemistry with Leonardo McCorkindale as struggling composer Julian Craster, their act two argument in the form of a pas de deux capturing the pain and insecurity on both sides. That's not to say McCorkindale doesn't shine on his own, carrying a Gene Kelly edge to his solo as he mimes conducting a grand orchestra, one of many highlights.  

Andy Monaghan otherwise feels underdeveloped as romantic rival Boris Lermontov, although carries an intimidating edge. Elsewhere Michela Meazza and Liam Mower shine as ageing prima ballerinas Boronskaya and Ivan Boleslawsky.

I couldn't help but get swept away by The Red Shoes. A rich blend of romantic storytelling and cinema, this production showcases the best Matthew Bourne has to offer as a love letter to ballet in its purest (and most haunting) form. If you're unable to find a production of The Nutcracker this holiday season, a trip to Sadler's Wells will more than suffice.

The Red Shoes runs at Sadler's Wells until 18 January 2025