Review: Ballet Shoes (Olivier Theatre)

Dec 6, 20245 min read

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

National Theatre are wrapping up another phenomenally successful year for them by ending on a high. With acclaimed productions across all three theatres in their main building, West End transfers and tours, their proven quality has remained throughout 2024. I mentioned ending on a high and that is due to the final productions of the year at both the Dorfman and Lyttlelton Theatres (A Tupperware Of Ashes and The Importance Of Being Earnest) both earning five stars from me. It is now the turn of the final 2024 production at their biggest space, the Olivier Theatre, to follow suit. You may have already guessed from the star rating above that Ballet Shoes more than delivers.

First published in 1936, Noel Streatfeild’s children's novel Ballet Shoes has captured the attention of adoring audiences for multiple generations, being adapted for the screen twice. This new adaptation marks the first major stage production, however.

Set in the 1930s, it tells the story of three adopted sisters – Pauline, Petrova and Posy. Growing up in a run-down house full of fossils, they have to navigate their own paths, figuring out who they are and what they are capable of in a world not built for ambitious women. Along the way they find so much more including the true meaning of family.

In the months since Ballet Shoes was first announced, I have had multiple conversations with people excited to experience one of their favourite stories on stage. I must admit to being fairly ignorant, having never read the novel or seen the screen adaptations, so I went in with a completely blank canvas, not knowing what to expect in any shape or form. While I would be keen to know how people familiar with the story feel this compares, I could only experience it through new eyes and, in the space of two hours and 45 minutes, I fell madly in love.

Streatfeild’s story has been translated to the stage by Kendall Feaver in an adaptation that does more than simply adapts – it revitalises the story. Retaining its essence while introducing new elements into the mix, this allows for a more diverse and inclusive story that stays true to the original while opening it up to a wider audience. Feaver’s writing here has plenty of heart and humanity on offer in a simple story that may seem small on paper but grows into a huge beast full of richness and varying qualities. There are moments that make you laugh and those that will tug at your heartstrings, but at the centre of all of this is its unbridled joy with life. Deliberately timed to be a favourite for the festive season, the pure joy it brings encapsulates the season and had my face aching from the permanent smile that was glued to it throughout.

There is a real sense of magic and wonder to be had with Ballet Shoes – multiple commented about how special the original book was, and that specialness is on clear display here too. Katy Rudd’s exquisite direction takes great care in every choice with a fine instinct on how best to convey the heart, humour and humanity in the story, and having a lot of fun in doing so. The best shows are the ones where every creative element comes together cohesively to create pure magic, giving you the sense everyone involved in the creation of this is on the same page. That is very much the sense I got here, with Rudd’s direction not just working with Feaver’s adaptation but elevating it completely.

Speaking of flawless creative elements, the visual elements of Ballet Shoes provide a spectacular factor to the production, with a truly stunning and elaborate set design from Frankie Bradshaw going to great lengths to create the Fossil sisters house in an incredibly detailed set that always ensures your eye is drawn to something else, discovering more to it as the story progresses. The set comes alive, pretty much literally, thanks to an incredible use of video design by Ash J Woodward – first used early on to jaw dropping effect. At times becoming a real spectacle, beautiful lighting from Paule Comstable and stunning costumes from Sanuel Wyer really makes Ballet Shoes a feast for the senses.

Though deceptive in its title, ballet does indeed feature in Ballet Shoes, with a gorgeous use of dance peppered throughout the show. Ellen Kane’s outstanding choreography and Asaf Zohar’s dance arrangements lead to some jaw-droppingly good moments with a joyous (if I overuse that word in this review, it is because there is no better word to describe this joyous show) sequence involving Theo Dane (Nadine Higgin) and the Fossil girls, a brilliantly wacky Alice In Wonderland number and the perfect finale. The standout scene takes place in act 2 featuring Madame Fidolia (Justin Sallinger) and her younger counterpart Katerina Federovsky (Xolisweh Ana Richards) in a powerful and mesmerising sequence that proved to be both beautiful and poignant, completely moving this Grinch of a reviewer.

The perfection of the top quality creative elements of Ballet Shows is matched with it talented cast – all of whom make their mark during the show, in one of the most consistent ensemble casts I have seen this year. Yanexi Enriquez , Grace Saif and Daisy Sequerra take on the roles of the three Fossil sisters, playing Petrova, Pauline and Posy respectively. They shine both collectively and individually, bouncing off each other with a great chemistry before going on their own paths.

Sequerra’s precocious portrayal of Posy paves the way for a heartfelt performance, perfectly encapsulating the journey of growing up, while Enriquez’s brilliantly exaggerated turn as excitable Petrova creates some of the more comedic moments of the play/ Grace Saif gives a magnificent turn as Pauline in a case of life imitating art as the aspiring actress she plays being recognised for her huge talent mirrors the talent of Saif herself.

Pearl Mackie delights as the girls’ guardian Sylvia, holding the fort as the glue that holds everything together with all the weird and wonderful characters that join her. Nadine Higgin is fabulously commanding and charismatic as Theo Dane, though slightly underused in parts, she more than makes up for it with a memorable and marvellous performance. Helena Lymbery thrills as the initially cutting Doctor Jakes in a slow-burn performance that beautifully sees her let her walls down to reveal the truth about her own journey and motivations with comments about the real family being the one you make for yourself representing one of the core themes represented in the story. Sid Sagar gives a charming turn as Jai Saran, with Jenny Galloway blending comedy and affection as Nana.

Justin Sallinger is a standout in two very different roles – first as the eccentric Great Uncle Matthew who dominates the opening of the show before disappearing, only to return in the contrasting yet captivating turn as Madame Fidolia. It could be very easy to play that role solely for laughs, but Sallinger channels a real beauty in his portrayal, captivating with his every appearance.

Ballet Shoes was not a show that had really been on my radar prior to visiting. I went in with no prior knowledge, influence or bias. I came out obsessed. Watching the magic unfold on stage encapsulated the very best theatre can offer for me, not only moving me but bringing me continued joy as I watched awestruck at this beautiful production. This is a very special and spectacular show that succeeds on every possible level, managing to tick every box. The result is a joyous, mesmerising and moving production that is always on point.