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}
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