Review: BALLET SHOES, National Theatre

Beloved by parents and children alike, The National Theatre has taken on the first major stage adaptation of Noel Streatfeild’s best-selling book Ballet Shoes as their big ticket show this festive season. It is a brave move, as the book is so well known and hasn't been out of print since 1936. However, there's so need to fear, as Kendall Feaver's adaptation is a truly charming and heart-warming family show.

Directed by Katy Rudd, who brought us the extraordinary The Ocean at the End of the Lane, the story of three adopted girls and their rag-tag family of distant relatives, teachers and lodgers has been subtly updated but still maintains the soul of the book. It is a story of determination, hope and female empowerment.

Pauline, Petrova and Posy are learning who they are and what they want to be: Pauline an actress, Petrova an mechanic and pilot, Posy a dancer. Abandoned by Great Uncle Matthew, financial strife hits the house and the girls vow to do what they can to keep their unusual family together and make their own mark in the history of the world.

The cast fizzes with energy. Grace Saif is a forthright Pauline, who almost tips into brattishness at points. Yanexi Enriquez is a dreamy yet determined Petrova and Daisy Sequerra is a suitably petulant Posy.

The three don't have that classic sisterly bond, more a grudging realisation that they are stronger together than apart. Streatfeild called the book “a fairy story with its feet halfway on the ground" and it is indeed a welcome departure from many saccharine-tinged children's stories of siblings. 

Pearl Mackie is great as the doggedly determined guardian Sylvia and Jenny Galloway is archly dry as the ever-present Nana. A story about the potential strength of chosen families, the unusual group of lodgers all get enough time to establish themselves. Nadine Higgin sparkles as the bohemian dancer Theo Dane, Sid Sagor is genial and charming as mechanic Jai Saran and Helena Lymbery gives stoicism as 'sapphic' Dr Jakes.

Justin Salinger has a ball as Great Uncle Matthew (GUM), bringing both humour and pathos to the poised Russian ballet mistress Madame Fidolia. As GUM, after his feckless abandonment of the household he created, I would have welcomed a feeling that he hasn't been let off the hook for doing so quite so lightly.

This is a production filled with interest and movement, from graceful ballet lessons to futuristic Shakespearean productions. Ellen Kane's choreography is a masterclass in fluidity and seemingly effortless co-ordination.

Frankie Bradshaw's meticulously detailed set is brimming with artefacts, fossils and curiosities, capturing the genteel poverty and romantic dereliction of 999 Cromwell Road. Magical mirrors, thoughtful lighting and a lovely moment where Petrova actually gets to fly all add to the deft construction of the production.

The one criticism is that there's a lot to pack into the show and, despite dispensing with some of the book's finer details, the production feels a little long at 2 hours 45 minutes.

After that notorious Covid-era campaign that suggested a ballet dancer should look for a job in cyber, what shines through is the uplifting idea that the arts are valuable and worth time, effort and dedication. 

The story touches on many parts of the female experience: from sexuality and social hierachy, to self-determination and earning your own money. Streatfeild was so ahead of her time in encouraging the idea that you can be anything, that ambition is a positive attribute, particularly for young girls. What a brilliant message for everyone, told so beautifully in this gorgeous show.

Ballet Shoes is at The National Theatre until 22 February 2025

Photo Credits: Manuel Harlan