The Red Shoes – The Lowry, Salford

Book: Hans Christian Anderson

Music: Bernard Herrmann

Based on the film by: Michael Powell and Emeric Pressburger

Director and choreographer: Sir Matthew Bourne

This is a wonderful, magical evening of theatrical dance (Sir Matthew Bourne doesn’t like to describe his dance as ballet), a story told through dance, acting, mime, music, lighting and set design. Bourne is noted for disliking the use of technical balletic leaps and twirls for the sake of it. Consequently, every movement is part of the story and so the evening does feel less like a ballet and more like a piece of theatre – just one without words.

We are transported into the world of a young dancer (Victoria Page). She’s keen to follow her passion for dance and make her way into a company of dancers and is given a magical boost when she dons a pair of red shoes. Wearing them, she dances magnificently, effortlessly, without stopping. But they completely take over her life, leaving her exhausted and with a heartbreaking choice between following her passion and the man she loves. She chooses her man … initially at least…

The story is based on Hans Christian Anderson’s fairy tale and the film of the same name by Michael Powell and Emeric Pressburger from 1948. The film has held a fascination for Bourne ever since he saw it as a teenager – he, like Victoria Page, wanted to be part of ‘a world full of glamour, romance and creativity populated by larger-than-life personalities’. He had a twenty-year ambition to bring the film to the stage and succeeded in 2016 with this ‘personal love letter to a life spent in theatre and dance’. It won two Olivier awards and two LA critics awards. Bourne is using the music of Hollywood composer Bernard Herrmann to score the piece, rather than the music from the film which of course existed alongside the spoken word. This tour includes eleven of the original cast, reprising the roles they created.

In the first half of the production, the story moves seamlessly from London where Victoria is ‘discovered’, to Paris and Monte Carlo where we see the ballet of the red shoes. Bourne uses a magnificent proscenium arch and heavily draped stage curtains which turn through 180 degrees to enable us to see what the ‘audience’ sees, as well as the backstage preparation.

The second half feels a rather more rushed affair, moving from the end-of-show party, to Victoria’s new life on the London music hall stage and her cheap digs, to her return wearing the red shoes and her demise. That same, glorious proscenium arch feels a little over used as it spins more often – not between front of house and backstage, but between her digs and the impresario’s office.

The chemistry and dancing between Victoria Page (Ashley Shaw) and Julian Craster (Dominic North) – the young composer and love of her life – is sublime. Hesitant, joyous, sinewy, adoring and heartbreaking in turn. And the pompous, domineering instruction of Sergei Ratov (Reece Causton) as the dance master is a delight. He struts, puffs out his chest and drills his dancers to within an inch of their lives. Also worthy of mention is Ivan Boleslawsky (Will Bozier), the company’s leading male dancer, very keen to show off his prowess, skills, muscles and costumes – every inch the leading man who’s keen for everyone to know it.

The most joyous visual scene is on the beach in Monte Carlo, where the dancers are dressed in traditional bathing suits of the era and frolic in the waves together. Their expert bouncing of over-sized beach balls is great fun. Bourne also successfully recreates the seedy, cruel and misogynistic life of a musical hall artist, and adds a wonderfully funny sequence with two ‘Egyptian’ sand dancers – they will have you laughing out loud.

Bourne uses silence and stillness to great effect – not least at the very start of the performance, when the impresario enters the stage in front of the proscenium arch in a piercing spotlight and stares the audience out before the show begins. It really sets the theatrical tone for the show. As does the silent-movie like look of the costumes, set and exaggerated expressions of the dancers.

The red shoes really do appear magical – they are beautifully lit, incredibly shimmering, with gossamer like ribbons that float behind them. Shaw’s movement realistically conveys them as being in control of her, rather than vice versa. Her exhaustion at the end of the shoe-fuelled ballet is palpable.

The lighting by multi-Olivier-winning Paule Constable (War Horse, Les Misérables, Wolf Hall) is atmospheric and complemented by some stunning projection by Duncan McLean. The sets by Lez Brotherston are magnificent and move us seamlessly from bedsit to elegant lounge.

Don’t miss it!

Runs on tour until May 2026