Review: MATTHEW BOURNE'S THE RED SHOES, Sadler's Wells

Lucky Londoners are now treated to a Matthew Bourne extravaganza every festive season, and in comparison to recent year's revivals of previously seen Bourne works, the excitement is palpable at Sadler's Wells as audiences prepare for the world premiere of Bourne's take on the 1948 film The Red Shoes.

With expectations high, Bourne rises to the occasion with a slick and indulgent production that is rich in theatricality and swift with its storytelling. As ever, Lez Brotherston's original set designs are both eye-catching and memorable, effortlessly allowing the audience access to the onstage and off-stage scenes via a revolving velvet-curtained frame.

It's easy to be swept along by Bernard Herrman's stunning score combined with the opulent costuming of Brotherson from the very start. Dancers float and glide across the stage in moments that are made for a fairy princess dream before we see struggling starlet Victoria Page (Ashley Shaw) enter the stage for her first tentative audition at the her aunt's requisition.

Having watched Shaw in both Sleeping Beauty and Edward Scissorhands, it might be too soon to say, but in Victoria Page she may just have found a defining role. A spectrum of emotions are demanded from her here, from joy, affection, anger, euphoria, insanity and back again, and we're with her for the whole absorbing journey that Bourne has crafted.

The quick-fire pace of the first act is almost to the detriment of the production at times; it races along so wildly that those not so familiar with the iconic film may become a little lost with the various male leads floating around the stage. These issues are ironed out in Act Two, however, as we're left in no doubt of Page's predicament in choosing between ballet impresario Boris Lermontov (Sam Archer) and composer Julian Craster (Dominic North).

One could argue the plot is secondary to the visual feast Bourne creates, as he always does. The highlight of Act One is actually the performance of the ballet The Red Shoes, which Page and co. are rehearsing for. The set transforms into a blank white canvas with the bleak backdrop of the church where Karen (Shaw as Page playing Karen - do keep up ...) first wears her red shoes.

The costuming is a stark mix of red and black before we get our first glimpse of Karen in her bejewelled, powder-blue and ruby gown with its mesh skirt and dazzling scarlet pointe shoes. Shaw begins elegantly before her unruly shoes leave her scrambling for control.

The ensemble, by contrast, move slickly as one unit in smart black attire. At the climax of the ballet, we see ,for the first time, the shoes dramatically removed from Karen's feet, a symbolic act which will be repeated at the dramatic end of Act Two. The roar of the (fake) audience's reaction before Page and Craster share a kiss backstage will give you goosebumps.

There aren't enough words to cover all the additionAl Small touches that add together to make The Red Shoes so enjoyable - from the comical Egyptian pharaoh dancers who are all thrusting hips and campness to the wonderfully aloof prima ballerina of the Lermontov Ballet played perfectly by Michela Meazza.

Act Two flashes by, focussing predominantly on Page and Craster's relationship and the pressure induced by Lermontov's developing feelings and frustrations with Page's departure from his company. The final scene depicting the opening night of Page's return to the stage is a breathless whirlwind. The score intensifies thrillingly as she flees, pointe shoes still on, at first a gentle touch of mist entering the stage before a deluge and the face of the train that hits her finally becomes visible. It's typical Bourne, grinding to a halt just as he had you hooked.

Bourne may be a genius, but his triumphs are only possible thanks to a hugely talented and dynamic cast that enable his visions to come to life, and The Red Shoes is a prime example of how powerful this combination can be.

The Red Shoes at Sadler's Wells until 29 January, 2017

Picture credit: Johan Persson

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