★★★★★

Venue: Birmingham Hippodrome Theatre

Production Run: Wed 19 - Sat 22 Jul 2017

Production Reviewed: Wed 19 Jul (Evening Performance)

On the afternoon of the performance reviewed, the recently-knighted (and richly deserved) Sir Matthew Bourne told a special luncheon audience gathered at the Birmingham Hippodrome that “telling stories and breaking down the barriers for people who don’t usually see dance” was the core raison d’être for his wildly successful ‘New Adventures’ enterprise.

There’s no denying it’s a goal well attained; as sold-out theatres, critical and audience acclaim and a shiny Olivier or two will attest. And that’s just the success of this particular production of The Red Shoes; add the recent likes of The Car Man and Edward Scissorhands into the fray and you begin to realise the full extent of the Bourne Supremacy. 

Perhaps most vitally, though, is how vehemently Bourne has quelled any notion that making dance commercially viable, appealing to the mainstream and accessible to all must somehow lead to a sacrifice in quality or craft. Without naming any particular offenders, we have all seen what happens when other less discerning producers and talent have attempt to force, say, opera or classical ballet through a hyper-commercialised or mainstreamed filter.

If Scissorhands, The Car Man and co. were dazzling proofs of concept that Bourne and his New Adventures team could bring dance to the masses whilst simultaneously raising the bar on how to stage such productions, then The Red Shoes is, quite frankly, the transcendent apogee of such an approach. It is a stunning, extraordinarily crafted piece of theatre, a deft, faultless celebration of the narrative and emotive power of dance, and one of the most beautiful things you are likely to see grace the stage anytime soon.

Based on the Academy award-winning 1948 Powell and Pressburger movie of the same title, The Red Shoes’ central story is an intoxicating rumination on passion, love and ambition, as talented young dancer Victoria Page (Ashley Shaw) finds life imitating art imitating life as she is torn between two men who help define her creative expression, and the irresistible lure of the titular red shoes and everything they symbolise and represent.

Nowhere has New Adventures’ affinity for narrative through dance been more hauntingly yet beautifully evinced. There’s a core simplicity to the tale of Shoes that is enriched with plenty of symbolism, imagery and foreboding, but it is once again remarkable how effectively Bourne paints dynamics between characters and the progression of narrative, all, naturally without any dialogue whatsoever. Even the most ardent of dance naysayers will likely find themselves won over, or at the very least, fully comprehending and understanding of the story on show.

Bourne’s trademark wit and whimsy are littered throughout, too; whenever Page’s story threatens to get too heavy, the simplest of character beats or vignettes - such as a pair of mock Egyptian dancers awkwardly shuffling along on stage - will lighten the mood and offer some laughs, and, as always, the level of detail and character imbibed into every nook and cranny of the stage in busier scenes almost demands a repeat visit to soak it all in.

Shoes is a beautiful, magical tale, and that it resonates so clearly yet profoundly here makes it almost seems like sacrilege to comprehend there being a version of this tale with dialogue.

Technically, the New Adventures company are a troupe at the absolute top of their game. Bourne’s Olivier-winning choreography is as luminous and sweeping as to be expected, but it takes a talented bunch indeed to execute it this effortlessly. Sam Archer is a commanding, dignified  presence as Lermontov, whilst Ashley Shaw gives a truly star making turn in the central role of Victoria, proving herself as gifted an actress and storyteller as she is a stunningly graceful dancer. Like practically the entire company, it is nothing short of enchanting to see a performer so technically disciplined and precise, yet somehow harmonising this so effortlessly with the passion and grace the role (and show) demands. It is thrilling to see that she will be dancing Victoria with the show for its US transfer; America are in for a treat.

As mentioned though, Bourne and Shoes raise the bar across-the-board. The stunning orchestrations of some of Bernard Herrmann’s classic pieces mixed with Terry Davies’ original compositions are sumptuous, full-bodied and lend the show a real bravura, whilst you will be hard pressed to find a more visually arresting, kaleidoscopic stage than the joys presented by Lez Brotherston’s set and costume design in tandem with Paule Constable’s lighting. Again; it is one of the most transcendent, beautiful and inventive pieces of theatre you could wish for. Sequences such as the central Red Shoes concert are up there with the most gorgeous set pieces the industry has offered in recent memory.

None of this is hyperbole. Red Shoes is not just a dance production, it is an enriching dance experience. It does practically everything not only right but masterfully; there is nary a foot or seam out of place. This is Bourne as a visual, Bourne as a craftsman and Bourne as a storyteller firing on all cylinders, and he is met with a company and team of creatives equally adept at serving his vision. 

So yes, as an introduction to dance for those unacquainted, it’s difficult to imagine a better recommendation. But as an exquisite, faultless and consummately enchanting fairytale come to life, even the most hard-nosed of dance devotees will surely admit The Red Shoes are a priceless, precious pair, indeed.

RATING - ★★★★★

Tickets: 0844 338 5000​  / Official Website: click​