Matthew Bourne’s The Red Shoes at Sadler’s Wells and on tour – review

Ten years after its premiere, Matthew Bourne’s The Red Shoes returns, and it’s just as enchanting and captivating as ever.

Based on the 1948 film of the same name, which in turn is based on the Hans Christian Anderson story, we follow Miss Victoria Page in her hunger for artistic greatness. Talent-spotted by the great impresario, Lermontov, she joins his ballet company and soon rises to the top as a principal dancer. Along the way, she falls in love with another rising star, Julian Craster. Jealous of her split focus, Lermontov forces her to choose: art or love.

While there’s necessarily no dialogue, the plot points are surprisingly comprehensible, without being overly simple. And, perhaps most impressive, the “script” is very funny.

Lez Brotherston’s design is sumptuous, full of velvets and jewel tones. The central focus is a moving proscenium arch, an inspired mechanism that swings back and forth to show what the audience sees and then what is happening backstage.

Because the plot features multiple shows within the show, Brotherston has to differentiate between the internal reality and the internal art. So we have the luxury of both traditional ballet-wear – fluffy tutus, skin-tight tights and so on – and some beautiful period costumes: tailored suits, high-waisted silhouettes, and draping cocktail dresses.

The music, curated by Terry Davis, feels like an old Hollywood score, dramatic and lush. Even if you despise dance, and you’ve been dragged against your will, you could close your eyes and have the most magnificent evening.

It’s a joy to see so many familiar faces in the primary cast: Ashley Shaw, of course, irreplaceably reprising her role as Victoria, switching helplessly between doe-eyed naivety and devilish obsession.

Michela Meazza as Irina, the ageing prima ballerina, so au fait, so glamourous. And yet she gives this character a humanity that is regularly left out of this kind of role: older woman being pushed aside for younger talent, so often portrayed as witchy and selfish. But Meazza allows Irina the grace of being pleased for Victoria.

There are also plenty of new faces: apparently over 60 per cent of the cast have come up through the New Adventures Swan School, and you can tell. There’s a lot of young mischievous energy in the chorus, injecting a freshness and jittery excitement to this now decade-old production.

It’s not an easy thing to venture outside on a dark, damp December evening, but it’s fully worth the struggle. This show provides all the luxurious embellishments one hopes for at this time of year: over-the-top design, a live orchestra, reams of talent, and an utterly compelling story.