Sir Matthew Bourne’s 2016 production of The Red Shoes, which he created for New Adventures, has returned to Sadler’s Wells looking better than ever. Like all good choreographers, he allows his works to evolve and so it seems that every performance is more nuanced, spontaneous and transporting than the last.
It is also intriguing to bear witness to the fact that some of New Adventures’ longest standing members, namely Andy Monaghan and Cordelia Braithwaite (2013), Liam Mower (2011), Glenn Graham (2003) and Michela Meazza (1997) are dancing with a brilliance and artistry that places them among the greatest interpreters of this generation. It points to Bourne’s ability to nurture and develop his dancers no matter what stage of their careers they are at.
Bourne’s inspiration came from the famous 1948 Powell and Pressburger film which in turn was adapted from the Hans Christian Andersen 1845 fairytale. It focuses on aspiring ballet dancer Victoria Page who has to choose between her career and her demanding director, Boris Lermontov, and her romance with a struggling composer, Julian Craster. It lends itself adroitly to live dance theatre. In spite of a (spoiler alert) tragic ending, Bourne has managed to infuse the ballet with parody, some of it hilariously familiar and close to the bone.
The caricature of the ageing prima ballerina Irina Boronskaya (Meazza) and her partner Ivan Boleslawsky (Mower) walking through a lighting call for Les Sylphides on stage in Paris will remain one of the cleverest comic dance sequences I’ve seen, at first appearing to be highly exaggerated but in fact, wholly accurate! Graham’s depiction of Grischa Ljubov, the ballet master, was a riotous mix of any number of teachers I have personally encountered and somehow very much of that era. Class and rehearsal brought another wave of smiles and was a trip down memory lane for this spectator.
By the time Boronskaya had injured her ankle and the young Victoria (Braithwaite) had replaced her, we were well and truly hooked into the story. As romance blossomed between Victoria and Julian, danced by the very talented Leonardo McCorkindale, we were completely invested in the intrigue and distractions of a tour to Monte Carlo. Even this seemed reminiscent of genuine ballet companies on tour. The Ballon de Plage was an entertaining watch and the new creation of a ballet within a ballet, The Red Shoes, was both compelling and surprisingly moving.
Act 2 opened with an end of season party scene in Villefranche-sur-Mer and it offered a host of opportunities for the cast to indulge in the jovial atmosphere and their individual backstories. I don’t feel the need to elaborate on the rest of the storyline. Just to say, you do not need programme notes to follow the drama that ensues, a powerful message about determination, talent and loyalty.
The magic of this production lies in the collaborative efforts of all the artists concerned. Of course the dancers are paramount but Bourne’s creative team is incomparable. Lez Brotherston’s sets and costumes have the wow factor – no surprise there – but even by his own standards, they are spectacular. The score, an orchestration by Terry Davies of music by Bernard Herrmann, a perfect parallel to the action articulated on stage. Paule Constable’s lighting reflects flawlessly mood, incident, beauty.
Before commenting on Bourne’s attention to detail and his skilful storytelling, it's worth mentioning the performances he curates. Monaghan (as Lermontov), Mower and Graham have excelled in every role they’ve tackled in Bourne's vast repertoire. The Red Shoes allows them to amply illustrate both their versatility and individuality. Braithwaite’s dancing has always been stand out good but it is her vulnerability that is the clincher with Victoria. While I'm not as familiar with McCorkindale, I have very high hopes for him – a leading man in every sense.
Then there’s Meazza, who has shone in so many Bourne productions: every eyebrow twitch, slump of the shoulders, expression of disdain, is a wonder of interpretation. She is simply a stunning dance actress – and those pointy feet amaze too!
The Red Shoes contains some of Bourne's best choreography whether it's in solos, duets or for the very hard working ensemble (who must have had a record number of costume changes). Combine this with the drama, and occasionally melodrama, and you have a winner.
