THE RED SHOES at Sadler's Wells - Dancing Over the Edge...

Three years on, Matthew Bourne's THE RED SHOES is still a masterclass in dance story-telling at Sadler's Wells. It was particularly great to see again after what I felt was an under-par ROMEO & JULIET this year. 

This was my third time seeing Bourne's Olivier Award-winning ballet and, while I have never been a particular fan of the Michael Powell and Emeric Pressburger film, I love this version of it; not even two hours long it rattles through the plot with no pause to the shattering climax.  If I do have a criticism, it's that in his rush to tell the story, Bourne has skated over the internal relationships between ballerina Victoria Page and the men in her life: Svengali-ish impresario Boris Lermontov and composer Julian Craster.  Lermontov hovers scowling in the background and as soon as Victoria and Julian throw in their lot together they seem to be splitting up.  It all still works but it would be good to have just a little more depth.

After seeing her dance at a private party, imperious impresario Lermontov gives Victoria Page an audition for his ballet company which wins her a place in the ensemble.  When his star ballerina Irina is injured onstage, Lermontov gives Victoria the lead role in a new ballet THE RED SHOES which has music by composer Julian Craster.  Victoria is a huge success in the title role of a young girl who after donning a pair of magical red ballet shoes dances herself to death, but Lermontov loses her affections to Craster and, when the composer is sacked by Lermontov, Victoria leaves the company.  But when her and Craster's relationship founders, she returns fatefully to The Red Shoes...

What struck me again was the wonderful range of dance that Bourne includes - from classical ballet to post-war contemporary, from stiff social dancing to madcap party dances, from showgirl parading to Egyptian sand-dances.  The action is fluid and truly cinematic helped immeasurably by Lez Brotherston's wonderful settings and costumes and Paule Constable providing lush lighting.

Unlike in other Bourne productions, he doesn't flood the stage with business for his ensemble and minor characters - yes there are minor characters such as the two ballet stars and the choreographer - but they are integrated into the whole without their 'business' holding up the plot.  Bernard Herrmann's glorious film music is made into a whole new score by longtime Bourne collaborator Terry Davies.

For the third time we saw the magnificent Cordelia Braithwaite as Victoria; spiky and physical in ROMEO & JULIET earlier this year. here she was vibrant and sensual as Victoria and a wonderful showcase for her unerring ability as an actress as well as a dancer.  Adam Cooper played Lermontov and it was good to finally see this most iconic of dancers - he danced the role of The Swan in the very first production of Bourne's SWAN LAKE - and although the character is given nothing particularly taxing to do on stage, he did it with a great command and charisma.

The role of Julian was played by another favourite, Dominic North who created the role of Bourne's EDWARD SCISSORHANDS, and again brought great warmth and charisma to the part.  Two other Bourne veterans featured: Michela Meazza was at her diva-ish best as the Ballerina whose injury gives Victoria her chance, and Glenn Graham was fine as the choreographer and lead tempter in THE RED SHOES ballet.  Jackson Finch made a very convincing star dancer in Lermontov's company.

What a pleasure to be able to see this again... c'mon Matthew, release a dvd!