A stunning production based on the famous Powell and Pressburger movie, this was filmed at Sadlers Wells in London late December 2019/early January 2020. The production was first seen in 2016 and has won two Olivier awards. It is breathlessly fast paced and features some incredibly demanding, very exciting choreography. The 1948 movie inspired generations of both ballet and film lovers.
We see Victoria ( Vicky ) Page being driven to choose between two men – her dreams of becoming a world famous ballerina as exemplified by Boris Lermontov , ruler of his eminent ballet company, and her love for composer Julian Crasker.
‘The Red Shoes’ is a battle of devotion and obsession and asks what would you sacrifice for your art?
It is stunningly, lavishly designed by Lez Brotherston , with some very fast, fluid scene changes and great use of the revolve at times, whisking us from backstage at the theatre to glamorous Monte Carlo to a dingy music hall and other locations, sometimes simultaneously. The lighting is by Paule Constable, sound by Paul Groothuis and projection design by Duncan McLean. The production is orchestrated by Terry Davies based on the music of golden-age Hollywood composer Bernard Herrmann.
Bourne has much fun recreating chaotic scenes of backstage at the ballet, drawing on the history of the Ballets Russes of the era in a pastiche of styles. His choreography at times has snippets from his own Swan Lake, Nutcracker and Spitfire, among others. There are also references to Ashton’s Apparitions and /or Les Rendezvous /Marguerite and Armand as well as Nijinska’s Le Train Bleu. Plus Fokine’s Les Sylphides and some spiky, angular choreography in the early Graham style .
THE RED SHOES ballet itself is done in monochrome (apart from Vicky’s dress) and there is a splendid series of receding proscenium arches..
Ashley Shaw as Victoria Page shines like Moira Shearer in the iconic film. She is red haired and is an enchanting dancer, poised with elegant, classical line. Shaw reveals both Pages’ guilelessness and ardor, full of delicate, childlike, at times, yearning.
Dominic North as Julian Crasker is full of passionate attachment and bursting with energy . When inspired he jumps over and around the piano. His relationship with Vicky is thoughtfully depicted , empathy changing to joint irritation. There are searing , intimate pas de deux and we see how their relationship changes once Vicky puts the red shoes back on, asserting her individuality.
Throughout the work Adam Cooper as Lermontov is aloof, commanding, stern and magnetic, at times rather sinister but with a hidden volcanic passion just underneath the surface.. (Cooper was the original Swan/Stranger in Bourne’s Swan Lake and the adult Billy in the movie Billy Elliot. ) There are anguished, tortured scenes towards the end where he is alone in his elegant apartment which are reminiscent of Crown Prince Rudolph in MacMillan’s ‘Mayerling’ .
Michela Meazza has great fun as Irina Boronskaya, a leading ballerina in Lermontov’s company. The lighting rehearsal scene with her world-weary attitude, holding up her Sylphides costume and ‘marking’ particular movements is darkly satirical.
Ivan Bodeslawsky, flamboyant premier danseur, is terrifically danced and portrayed by Liam Mower.
Grisha the ballet master who plays the shoemaker in ‘The Red Shoes’ ballet itself is given a charismatic performance by Dominic North. His hair has been specially made up with silver horn like curls around his ears so he looks like a tempting Pan or devil enticing Vicki with the shoes. At one point, towards the end Lermontov and he blend in Vicky’s tortured brain.
Another major Bourne work, the story rushes towards its shattering, tragic conclusion, full of intensity.
‘The Red Shoes’ screens at selected cinemas as of October 3.
Running time – just over 90 minutes
http://www.sharmillfilms.com.au/allfilms/2020/2/27/matthew-bournes-the-red-shoes-6-jun