Review: BALLET SHOES, National Theatre

The National Theatre offers a truly enchanting festive treat with Ballet Shoes which sublimely on 'pointe' returns to the Olivier under the confident and imaginative direction of Katy Rudd. Kendall Feaver’s new version of Noel Streatfeild’s beloved novel feels both timeless and refreshingly alive, delivered with intelligence and a deep understanding of the stories levels and enduring charm.

Treated to special extra features, the preshow activities set the tone for an unforgettable evening with themed mirror walls on the second floor available to ‘pose like Posy’ to capture photos. On press night, theatregoers are additionally welcomed into a gentle ballet class which immediately pulls them into the world of the Fossil sisters and creates an irresistible sense of anticipation. This sense of immersion continues as Frankie Bradshaw’s truly wondrous set is revealed. The ‘crumbling house’ is vast in scale and strewn with dinosaur bones, dinosaur illustrations and relics of travel and adventure, filling the Olivier stage with breathtaking detail, which perfectly frames the heart of the story.

The production bursts into life with the arrival of Great Uncle Matthew, played with joyous slapstick flair by Justin Salinger who switches between his many roles with remarkable and well thought distinction. His interpretation of the eccentricity and chaotic spirit underpin the story of Sylvia and the three babies he unexpectedly brings home, setting the course for Pauline, Petrova and Posy who are played with captivating individuality by superstars Nina Cassells, Sienna Arif Knights and Scarlett Monahan. Each actor shines with a clear sense of identity which develops gradually and beautifully.

As the household falls into disrepair, lodgers move in and the story widens. Nadine Higgin is thoroughly delightful as dance teacher Theo Dane who insists that music demands movement and who encourages Sylvia and Nana to send the girls to a theatre academy school. Anoushka Lucas as Sylvia, is thoughtful, strong and the heart of the piece, alongside the brilliance of Lesley Nicol as the steadfast Nana, who between them provide the emotional anchor of the home with a natural sincerity, which enriches every scene. Pandora Colin brings gentle authority and great knowledge as Doctor Jakes, whose mentorship supports Pauline’s blossoming passion for acting.

Xolisweh Ana Richards gives Katerina Federovksy a striking intensity with a beautiful world-class dance performance, which enriches the meaning of the very world of ballet. Her superb skill balances the heartache of struggle, juxtaposed with Federovksy's promising talent, being hindered sadly by ill health.

Raj Bajaj is endlessly charming as Jai whose friendship with Petrova captures the tender balance between encouragement and quiet understanding. His guidance in practicality honours teh message inteh book that ‘dreaming is something you do with your eyes closed’ reiterating teh importance of making your own fortune, based on hard work, which is particularly influential in terms of Petrova's resilience.

Ellen Kane’s choreography is epic, elevating the story throughout with melodic movement which is beautifully synchronised and consistently pleasing to watch, layering and infusing the action with stunning travelling steps, elite jumps, turns and lovely barre and centre work in class sections.

A thrilling Alice in Wonderland sequence bursts with imagination as the set and props transform in a fast paced whirlwind of action as the Fossil sisters begin getting professional stage work. Act two opens with a wildly joyous interpretation of A Midsummer Night's Dream, which blends theatre and space themed costume to hilarious effect, with a stunning performance by Petrova who flies above the stage creating wonder, thrill and magic for the audience.

The use of projected film visually enhances Pauline’s inner world and highlights her growth as a performer. Madame’s lessons for Posy, centred on humility and the belief that dance is for everyone, add important nuance to the narrative. Each Fossil sister deepens their commitment to one another and the family unit by contributing to the family income to keep them together. 

Moments of comedy are plentiful, especially a delightfully chaotic scene involving Jai’s borrowed car which had younger audience members roaring with laughter. Yet the production never loses its emotional core. As the sisters mature and make decisions about their futures, the story offers powerful reflections on chosen family, resilience and ambition in a world which still needs to do more to level the Playing Field for women to succeed in reaching high levels in employment.

The finest kind of theatre has the power to connect, to move and stay with you long after it has been experienced. Ballet Shoes falls into this category by being the perfect blend of theatrical magic, presenting the world of the Fossil sisters with warmth, wonder and life lessons.

Ballet Shoes is rich, heartfelt and exquisitely crafted with a uniquely talented cast and a vision which underlines the themes of ambition, family and individuality. It honours the spirit of the original novel while elevating to present a visually stunning, musically vibrant and deeply human celebration of growing up and finding one’s place in the world. It is a triumph for The National Theatre and an unmissable highlight of the season.

Ballet Shoes is playing in the Olivier Theatre at The National Theatre until 21 February 2026.

Photo credits: Alastair Muir