Review: Matthew Bourne's The Red Shoes
Sir Matthew Bourne's The Red Shoes arrives at Newcastle Theatre Royal with the confidence of a modern classic celebrating its 10th anniversary
Bourne’s 2016 ballet, inspired by the 1948 film by Michael Powell and Emeric Pressburger, offers a dark and elegant exploration of the cost of artistic devotion.
At its heart is Victoria Page, here danced by Cordelia Braithwaite, whose ascent in the ballet world is fuelled as much by obsession as by talent. Bourne’s choreography captures this tension with precision, balancing ambition against emotion, discipline against desire.
The movement is expressive rather than purely technical, prioritising storytelling over virtuosity. Despite having almost no dialogue, the narrative remains remarkably clear, shaped by Bourne’s instinct for vivid visual storytelling. Even as the plot becomes more intricate, the production maintains a strong sense of direction, building with confidence towards a finale that is melodramatic yet undeniably powerful.
One of the evening’s most striking moments is the eerie, atmospheric ‘ballet within the ballet’ sequence – an unforgettable passage that distils both the allure and the danger of artistic obsession. Elsewhere, flashes of humour bring welcome light, drawing out genuine laughter and adding contrast to the darker themes.
Visually, the production is spectacular. Lez Brotherston’s set and costume design evoke a 1940s theatrical world of glamour and backstage intrigue. The shifts between onstage performance and backstage reality blur the line between art and life, reinforcing the story’s central tensions. The score, adapted from Bernard Herrmann’s film music, lends a sweeping, cinematic quality. It underpins the drama with urgency and emotional weight – though the absence of a live orchestra slightly reduces the immediacy one might expect from a ballet of this scale.
If there is a drawback, it lies in expectations: those anticipating a more traditional ballet may find the emphasis on theatrical storytelling over classical technique surprising. Yet this is also the production’s defining strength – it expands the boundaries of what ballet can be.
Overall, The Red Shoes is a compelling, visually rich and emotionally resonant work that showcases Bourne at his most inventive. Both a love letter to theatre and a cautionary tale about the pursuit of perfection, it is delivered with style, intelligence and undeniable theatrical flair.
