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Matthew Bourne’s The Red Shoes Review- A Dazzling, Cinematic Ballet Masterpiece
Wednesday, 18 February 2026
Matthew Bourne’s The Red Shoes Review
A Perfect Balance of Cinematic Spectacle and Theatrical Magic
There are some productions that entertain, and then there are those that completely transport you. Matthew Bourne’s The Red Shoes is firmly the latter. This exquisite ballet is a breathtaking fusion of storytelling, design, and choreography that feels both gloriously cinematic and intimately theatrical. It is a production that understands the power of visual narrative and trusts its audience to meet it halfway.
Inspired by the Powell and Pressburger film and Hans Christian Andersen’s dark fairy tale, The Red Shoes tells the story of Victoria Page, a young dancer torn between love and ambition. Under the watchful eye of the obsessive impresario Boris Lermontov, Victoria rises to stardom, but her heart is divided between her devotion to dance and her love for composer Julian Craster. As ambition, jealousy, and desire collide, the red shoes become a symbol of artistic obsession and sacrifice.
Act one carefully lays the groundwork. Bourne allows the narrative space to breathe, establishing character dynamics and emotional stakes with precision. It feels almost filmic in structure, with seamless transitions and sharply drawn relationships. The storytelling is rich but never heavy handed. Through nuanced physicality and expression, the cast communicates layers of longing, rivalry, and ambition without uttering a single word.
The ensemble scenes are meticulously staged. Corps de ballet formations are clean and intentional, often reflecting hierarchical tensions within the company. There are soaring legato lines matched with sharp musicality that keep the momentum alive and make for a truly exciting piece of theatre. Even in quieter passages, the dancers maintain a strong dramatic focus.
Act two, at just 35 minutes, is where the choreography truly takes flight. The emotional intensity deepens and the movement vocabulary expands into soaring pas de deux and sweeping ensemble work. Bourne’s choreography blends classical ballet technique with contemporary theatricality. The lifts feel weightless yet charged with narrative tension. Extensions are held just long enough to heighten drama. Turns are not simply virtuosic but emotionally motivated.
The central ballet sequence within the story is mesmerising. Here, the red shoes themselves seem to drive the choreography forward. The dancers move with urgency and abandon, their lines elongated and expressive. It is thrilling to watch technique used in service of storytelling rather than display alone.
The cast delivers extraordinary performances. The portrayal of Victoria Page is filled with vulnerability and steel in equal measure by Cordelia Braithwaite, who carries emotional weight in every moment. Andy Monaghan as Boris Lermontov commands the stage with icy restraint, conveying obsession through subtle shifts in posture and gaze. Julian Craster is portrayed with romantic sincerity by Dominic North, his partnering gentle yet assured.
What makes this production particularly remarkable is how strongly the performers act as well as dance. Ballet can sometimes feel emotionally distant to newcomers, yet here every performer inhabits their role fully, with facial expressions, breath, and timing become as vital as footwork. This strong acting and characterisation really helps the audience follow the story and get swept up in the drama of it. The humour woven throughout the production is a welcome surprise; with moments of wit and theatrical flair that lighten the tone without undermining the drama.
The soaring score, orchestrated by Terry Davies, elevates the production to another level. It swells and recedes in perfect harmony with the choreography, amplifying emotional crescendos and intimate exchanges. The music feels expansive and cinematic, yet perfectly suited to the stage.
The set and costume design are nothing short of brilliant. Thanks to Lez Brotherston's design, the stage transforms completely between scenes, shifting from rehearsal rooms to lavish theatre interiors with fluid precision. Partnered with Paule Constable's brilliant lighting design, the production is a multi-layered feast.
Costumes subtly chart character evolution. Small changes in silhouette, colour, and texture communicate shifts in status and emotional state. Victoria’s costumes in particular reflect her journey from hopeful ingénue to tormented star; and of course, the iconic red shoes themselves glow with symbolic power.
One of the greatest strengths of ballet is its refusal to spoon feed the audience, and this production embraces that fully. The story is clear yet layered. Viewers are invited to interpret glances, gestures, and motifs. It asks you to engage actively rather than passively consume. That sense of intellectual and emotional participation makes the experience deeply rewarding and I'd encourage people to take the step into the ballet world if they haven't previously.
Matthew Bourne’s The Red Shoes is theatrical magic at its finest. It balances cinematic grandeur with the immediacy of live performance. It delivers technical excellence, emotional depth, humour, and visual spectacle in equal measure.
This is ballet that feels alive, urgent, and utterly spellbinding- a triumph which reminds us why dance remains one of the most powerful storytelling forms on stage.
★★★★
Reviewed on Tuesday 17th February 2026 by Olivia
Photo Credit: Johan Persson
{AD PR Invite- tickets gifted in exchange for honest review}
Dear England UK Tour Review: A Powerful, Timely Portrait of Modern Britain
Wednesday, 11 February 2026
Dear England (UK Tour)
New Victoria Theatre
When I saw Dear England in 2023, I was struck by just how urgently relevant it felt and seeing it again in 2026 inspired that same emotion. Written by James Graham and originally staged at the National Theatre, this sweeping, emotionally intelligent production captures the intricate fabric of contemporary Britain through the lens of football, and somehow makes it feel deeply personal.
At its heart, Dear England charts the journey of Gareth Southgate as manager of the England men’s national team, but this is far more than a sports story. Instead, it’s a thoughtful, layered exploration of British identity, national trauma, history, hope, and the complicated relationship between patriotism and progress.
"A Story That Seamlessly Blends Football and British Identity"
One of the production’s greatest strengths is its ability to move fluidly between past and present. Graham’s storytelling transports audiences across decades, linking Southgate’s own history- including that infamous missed penalty- with England’s broader national narrative. The result is a theatrical experience that feels modern, necessary, and culturally significant.
This isn’t just a play about football; it’s about immigration, activism, history, politics, and generational change. The ensemble cast bring these threads together beautifully, creating a vibrant tapestry of contemporary Britain. Each character feels authentic and grounded, representing different corners of the nation with nuance and care.
Leading the charge is David Sturzaker, whose portrayal of Southgate is both commanding and vulnerable. He anchors the production with emotional depth, drawing the audience into the psyche of a man carrying the expectations of an entire country. His performance elevates the ensemble, forging a genuine and often moving connection between stage and audience.
The production’s visual storytelling is equally compelling. Designed by Es Devlin, the set is unmistakably National Theatre in scale and ambition. Seamless transitions shift us across time and space with cinematic fluidity, while multimedia elements add interest and emotional weight.
Each transformation of the stage subtly alters the mood, reinforcing the play’s themes of change, reflection, and national reinvention. The design never overwhelms the story; instead, it enhances it, grounding big ideas in human experience.
James Graham’s writing is as sharp and insightful as ever. There’s a poetic quality to the dialogue, but it remains accessible and emotionally honest. Clever flashes of humour punctuate the heavier themes, preventing the production from becoming overly solemn.
That said, there are moments where the play feels a little bit on the cringe side. A handful of scenes don’t land with quite the impact they’re aiming for. But this is a minor quibble in a production that ambitiously attempts to encapsulate the essence of a nation.
Ultimately, Dear England succeeds because it dares to ask: what does it truly mean to be British today? And it does so in a way that feels inclusive, thoughtful, and surprisingly hopeful.
Dear England on its UK tour proves itself to be more than a hit play about football, it’s a cultural moment. With compelling storytelling, exceptional performances, and innovative staging, it stands as a testament to the power of theatre to mirror, challenge, and celebrate our shared story.
Whether you’re a football fan or not, this production resonates on a human level. It’s a touching, timely exploration of national identity that leaves you reflecting long after the final whistle.
★★★★
Reviewed on Tuesday 10th February 2026 by Olivia
Photo Credit: Marc Brenner
{AD PR Invite – tickets gifted in exchange for honest review}
Snow White and the Seven Dwarfs Pantomime at New Victoria Theatre | 5-Star Review
Wednesday, 10 December 2025
Snow White and the Seven Dwarfs (Pantomime)
New Victoria Theatre
We recently attended Snow White and the Seven Dwarfs at the New Victoria Theatre, and it was an absolutely fantastic pantomime experience from start to finish. Full of laughter, colour, energy and classic panto magic, this production delivered everything you could hope for from a festive family show and more.
This was clearly a modern take on Snow White, which may explain why there wasn’t as much focus on Snow White herself or the Dwarfs as in more traditional versions. However, this certainly didn’t detract from the enjoyment. Instead, the spotlight was firmly on the main characters, who carried the show brilliantly and kept the audience thoroughly entertained throughout.
Lesley Joseph was, as expected, a true professional and a joy to watch. She brought warmth, comedy and impeccable timing to her role, engaging effortlessly with the audience and delivering her lines with confidence and flair. Her experience in pantomime really shone through, and she was a constant source of laughter.
However, the real standout of the show for us was Rob Rinder. He showed a completely different side to himself that many of us hadn’t seen before, proving just how versatile and talented he is. His performance was confident, funny and surprisingly charismatic, and he absolutely stole the show. From his comic delivery to his interaction with the audience, Rob Rinder was a delight and, in our opinion, the true star of the production.
Aaron James also deserves huge praise for keeping the energy levels high from beginning to end. He had a fantastic rapport with the audience and played his role perfectly, especially during the sections involving audience participation. One of the highlights was when he brought the children up on stage near the end of the show, a moment that perfectly captured the heart of pantomime and brought smiles to everyone in the theatre.
The costumes were absolutely fantastic, colourful, creative and eye‑catching, adding to the magical atmosphere of the show. The group dance routines were slick, lively and very well performed, showing great teamwork from the cast and adding an extra layer of spectacle to the production.
Overall, this was a fun‑filled, joyful and highly entertaining pantomime that provided plenty of laughs and a wonderful sense of escapism. We thoroughly enjoyed every minute and would wholeheartedly recommend it to anyone looking for a great night out, whether as a family, a couple or with friends.
A truly enjoyable show and definitely worth going to.
★★★★★
Reviewed on Tuesday 9th December 2025 by Valerie Field
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Sadie Sink and Noah Jupe to Lead Romeo and Juliet in Major West End Production
Tuesday, 18 November 2025
Sadie Sink and Noah Jupe Announced for Romeo and Juliet at the Harold Pinter Theatre
Empire Street Productions has announced an exciting new West End production of Romeo and Juliet, opening at the Harold Pinter Theatre in 2026. The production will star Sadie Sink and Noah Jupe, bringing together two of the most talked about young performers working today. Directed by the acclaimed Robert Icke, performances begin on Monday 16 March 2026 for a strictly limited 12 week season until Saturday 6 June 2026. A press night is scheduled for Tuesday 31 March 2026. Pre sale opens today, with general sale beginning tomorrow at 10am via romeojulietplay.com.
Sink, best known internationally as Max from Stranger Things, continues to build an impressive career across film, theatre and television. She began on Broadway and recently earned a Tony Award nomination for John Proctor Is The Villain. Speaking about her West End debut, Sink said:
“I was a Broadway kid, so I’ve always dreamed about doing a show in the West End. To get to do that in one of Shakespeare’s most famous plays under Rob's direction with Noah will be such an exciting challenge. London theatre has this incredible energy, and I can’t wait to be a part of it.”
A Major West End Debut for Two Rising Stars
Noah Jupe, known for A Quiet Place, Ford v Ferrari and the upcoming Hamnet, will make his stage debut in this production. Reflecting on his first experience with London theatre, Jupe said:
“Theatre is something I’ve always been intrigued by. It seems like such a challenging and rewarding experience for an actor. So I was very excited to hear about this project. The combination of Romeo, Rob and Sadie is an opportunity you simply cannot turn down.”
Director Robert Icke, known for his inventive approach to classic texts, also shared his enthusiasm for the project:
“This is one of the plays I’ve returned to again and again, and the opportunity to tackle it in London with two wonderful young actors is hugely exciting. It’s an explosive play, filled with heat and life, which confronts us with the fragility of our lives are and the momentousness of every last second. I can’t wait to get started.”
The creative team includes set and costume designer Hildegard Bechtler, lighting designer Jon Clark, sound designer Tom Gibbons and video designer Ash J. Woodward. Further casting will be revealed in the coming months.
Alongside the production, Empire Street Productions is launching a schools initiative titled Romeo and Juliet: The Star Crossed Projects, offering Key Stage 3 and 4 students access to workshops, performances and creative opportunities at the Harold Pinter Theatre. These programmes aim to make Shakespeare more accessible and will culminate in student sharings on 4 and 5 June 2026.
With a world class director, two acclaimed young actors and a creative team known across London theatre, this production of Romeo and Juliet is already shaping up to be one of the most anticipated shows of 2026.
Photo credit: Helen Murray
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