Review: MATTHEW BOURNE'S THE RED SHOES, Cinema Screening

What are you prepared to sacrifice for your art? Filmed at Sadler's Wells in January, Matthew Bourne's The Red Shoes asks what a passionate obsession might cost a person. First seen in 2016, this wonderful show was a double Olivier Award winner and perfectly demonstrates Bourne's deep understanding of and devotion to dance.

Based on Michael Powell and Emeric Pressburger's iconic 1948 film, the production tells the story of Victoria Page, a dancer caught between her love for composer Julian Craster and her devotion to impressing the strict requirements of Boris Lermontov, director of an innovative ballet company. When Lermontov invites both Vicky and Julian into the company, both their professional partnership and love blossoms.

The Red Shoes, the ballet within the ballet, is based on the Hans Christian Andersen fairytale and gives Victoria her opportunity to shine. However, Lermontov's jealous demands threaten the lovers and Victoria's own sanity, as she is asked to choose between her lover and her love of dance.

Ashley Shaw returns to the show as Victoria Page; she has great poise and elegance, with a steely determination to succeed evident in every movement. There is a clearly visible disintegration of her mental state as reality becomes fractured. Her movements are classical, particularly how she holds her arms.

As Julian Craster, Dominic North had wonderful chemistry with Shaw; their duets are full of longing with some really beautifully executed lifts. When North becomes swept away with Craster's compositions, the screen crackles with his energy and enthusiasm.

Adam Cooper, original star of Bourne's groundbreaking Swan Lake, is commanding and cold as impresario Boris Lermontov. Human emotion has no place in his quest for absolute perfection, but the role feels slightly narrow, especially compared to those of Page and Craster.

The ensemble pieces are just wonderful and best demonstrate Bourne's wit and skill. Dance is an all-consuming passion; perfectly realised on stage, but often messy in creation. The backstage scenes are beautifully realised. As with all of Bourne's work, the true joy is in the detail. In rehearsals, cigarettes hang on lips, playful pastiches of other ballet works are acted out and small acts of romance and rivalry are also shown.

A small criticism is that it certainly helps to know the story; anyone unfamiliar with it or the film may struggle to always follow the flow of the narrative. It also seems like the drama of the finale comes in a rush, especially after the visual opulence of the ensemble scenes.

The show has a very cinematic look and feel to it, enhanced by actually seeing it on a big screen. The vibrant colours of the original film have clearly influenced the gorgeous designs of Lez Brotherson, who uses a moving proscenium arch to deftly allow a view of both the stage and backstage sets. This clever technique creates multiple visual layers as Monte Carlo morphs seamlessly into a jaded East End music hall; Paule Constable's thoughtful lighting design supports this, as startling blues and reds move to monochrome.

Terry Davies' incredibly evocative music is based on Hollywood composer Bernard Herrmann's work. It really carries the production through, evoking all the hope, passion, obsession and jealousy it contains.

This is a magical production, brimming with emotion and dazzling skill; enough to brighten the darkest evening.

Matthew Bourne's The Red Shoes is now screening in cinemas across the country

Photo Credit: Johan Persson

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