The Red Shoes – Review – Bradford Alhambra
By Christine Goode, April 2026
I can’t believe almost ten years have gone by so quickly. It only seems like yesterday that I was eagerly trotting off to the theatre to see Matthew Bourne’s brand new production of The Red Shoes, and here we are again at the Bradford Alhambra celebrating this critically acclaimed, double Olivier Award-winning masterpiece a decade on.
The show premiered in 2016 in Plymouth, completely selling out before its world premiere season even began. It then continued to tour the UK, stopping at Bradford in 2017, before successfully going on to the US.
Based on the fairy story originally written in 1845 by Hans Christian Andersen, and later adapted into a film in 1948, this prominent piece is a must-see for all budding dancers. I remember watching it myself as a child and being mesmerised by the beautiful red shoes, dreaming of being able to dance like Moira Shearer. Bourne has taken the story and worked his magic in the unique way that only he can. Although the 2020 tour was cancelled because of the pandemic, some members of the original cast are performing in this tour, which is quite remarkable. I was utterly amazed last night. Every time I see one of his New Adventures productions, I always think it is the best one, and then another comes along. Even though I have seen this production in the past, last night’s performance was special.
“Artistic ambition”
We meet Victoria Page, a young ballerina with a desire to become the greatest dancer. She auditions for impresario Boris Lermontov and becomes part of his ballet company, where she meets and falls in love with up-and-coming composer Julian Craster. She is seduced by the magical red shoes, with artistic ambition overtaking love, which leads to her tragic downfall and eventual death.
The stage is set: a ballet within a ballet unfolds, with a dramatic proscenium beautifully lit upstage. As we meet the impresario, striking music begins and the proscenium intriguingly moves towards the audience, an effect I’ve never witnessed before. It is instantly captivating. When the curtains part, the ballet Les Sylphides commences in traditional elegance, featuring long dresses and pointe work. As the dance develops, the proscenium rotates 180 degrees, presenting the backstage perspective where performers await their entrance. Bourne has reimagined the original story, making several changes and replacing the original film score with music inspired by Bernard Herrmann’s compositions from films like Citizen Kane and Fahrenheit 451. Both pieces are recognisable and complement the performance seamlessly.
Lez Brotherston’s set and design are always exceptional, but this production stands out as the story moves through a storm into the haunting possession of the shoes. The most striking change was the white stage dropping over the original dark set, transforming it into a monochrome nightmare, with dancers in black and grey and dramatic weather effects that made the glowing red shoes the focal point. It was stunning.
“Exceptional”
It goes without saying that the cast, as usual, are superb, and Cordelia Braithwaite as Victoria Page, along with local lad Dominic North as Julian Craster, both give exceptional performances.
As with all Bourne’s masterpieces, there is always something distinctive. This time, it wasn’t the same-sex couple that caught my eye, but rather the sight of all the dancers smoking on stage. This detail humorously recalled earlier times when dancers might have smoked during rehearsals, making it both amusing and thought-provoking, presented with a touch of irony. The production is filled with humour, from the bored expressions of society ladies forced to dance with their husbands, to the Monte Carlo seaside scene, and especially my favourite: the East End theatre scene featuring a brilliant Egyptian sand dance. There were plenty of chuckles from the audience throughout.
I could sit here all day and write about this production, and if I did not already have plans this weekend, I would go see it again.
Matthew Bourne’s Production of The Red Shoes is at Bradford Alhambra until 25th April
imgaes: Johan Persson
Christine Goode founded her own dance school – The May School of Dance & Theatre Arts over three decades ago. Her dedication to teaching and love of dance, has created many successful artists in the industry, and she is delighted that many of her former students have now returned with their children, allowing them to also discover this beautiful art. She has choreographed, produced and directed shows over the last 36 years, and is devoted to all live theatre and music. Now in her third year of writing about her obsession with the arts, Christine loves to encourage everyone to see as much live theatre as possible.
maydanceschool.co.uk
