Matthew Bourne scores on all counts with The Red Shoes

Matthew Bourne’s New Adventures at Sadler’s Wells
December 14, 2016

Maggie Foyer

The Red Shoes was, surprisingly, a very successful film. Surprising, as it had the hallmark magic and poetry of Emeric Pressburger and Michael Powell’s films (never a selling point on the Anglo-American market) and it had ballet as its subject. The film’s box office success was welcome as it ran hugely over budget only later recouping its losses in American cinemas where its popularity gave MGM the confidence to include an extended dream ballet in An American in Paris.

Matthew Bourne has taken on a weighty mantle but, as probably Britain’s most successful choreographer, why not? He has given the filmic version of a theatre story a new theatrical identity celebrating the passion, joy and pain of the ballet artist in a brilliantly conceived period setting. It is also a personal triumph for Ashley Shaw in the iconic role of Victoria Page created by Moira Shearer, in 1948 a rising star at the Royal Ballet. With the distinctive flaming red hair and clothes, Shaw captures both the elegance and the fragility of the character.

Matthew Bourne, choreographer and director, has assembled a superabundance of talent both on stage and in his production team contributing to what promises to be another huge success for New Adventures.

The first act closes on The Red Shoes ballet, so memorable in the film and the litmus test for Bourne who scores on all counts with a moment of true theatre magic. This episode in the film brought cinematographer, Jack Cardiff, to the height of his creative talent and Lez Brotherston, similarly, rises to the challenge as he switches from his realistic settings to a stark white box set, the monochrome costumes of the dancers highlighting Vicki’s red dress as she dances through streets, clubs and finally to the churchyard where she meets her death. Skilful video projections create her claustrophobic fear with a flood of ingenious images. And all the while, the Machiavellian shoemaker (Glenn Graham) dangles the scarlet pointe shoes tantalisingly before her eyes.

As the curtain descends on the show within the show, the taped applause is replicated by the live audience, blurring reality in a surreal moment. In a coup de theatre, the curtain revolves and Vicki is now backstage swept up in a passionate embrace with Julian, her composer lover. Her huge bouquet of red roses drops heedlessly to the floor and Lermontov sees his protégé slipping from his grasp.

The love triangle is central to the Powell/Pressburger film but Bourne’s production does not achieve the same balance. Dominic North, as Julian Craster, displays creative passion in Bourne’s inventive choreography at the piano and on the podium but the love duets between him and Shaw never reach white hot intensity. Sam Archer as Lermontov, often lurking on the periphery, is the more dominant force, omnipresent and exuding power. His duets with Vicki, like the stately one when he announces his choice of her in the starring role, successfully combine restraint and potency.

Shaw’s impossible choice between life and art, and the demonic power of her dancing shoes, lead her to a death as tragic as that of her fairy-tale persona. She creates an utterly convincing character, drawing the audience to her: a quiet magnetic force on a stage of dominant personalities making us truly care about her fate.

Bourne has a field day with the larger-than-life theatrical characters. As an ardent fan of the irresistibly silly and truly naff, I loved his take-off of Wilson and Kepples’ cod-Egyptian ‘sand dance’. (Maybe one day when we care a little more about our Muslim brothers, this gem of vaudeville will no longer be acceptable but for now, it still delights).

Michela Meazza as Irina Boronskaja and Liam Mower as Ivan Boleslawsky, the Russian ballerina in fur coat and fey ballet boy marking through Les Sylphides with prop ballet dress and obligatory cigarette, were bliss. Throughout the show the couple, in company with the dance ensemble, gave sterling performances at each and every entrance. In Monte Carlo ‘sur la plage’, Bourne is again in his element having fun with balls and beach dress. In the salons, he cleverly parodies upper class twits and in the rehearsals and stage scenes he never misses a trick.

Bourne’s choice of music, early film scores from Bernard Herrmann, is inspired and no small part of the success of the show. Effectively chosen and orchestrated by Terry Davies, it supports and enhances in just the right measure. Again, I cannot rate too highly Lez Brotherston’s enchanting, versatile set. It morphs seamlessly between plush auditorium and no-frills backstage, alternating realism and fantasy, high art and music hall, Lermontov’s lavish boudoir and the lover’s tawdry theatre digs.

There is so much to enjoy in this show that whatever the romantic shortcomings, and these may alter with different casts and chemistry, it will repay many viewings.

Matthew Bourne’s The Red Shoes continues at Sadler’s Wells to January 29, 2017 (www.sadlerswells.com), then tours. Visit www.new-adventures.net/the-red-shoes for full details of dates, venues and casting.