Review: Ballet Shoes (Olivier Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️.

Last year, the world-premiere stage adaptation of Noel Streatfeild's Ballet Shoes pirouetted into London's National Theatre, winning the hearts of everyone who saw it and becoming one of the must-see productions of the festive season. Though many had memories of the book from their childhood, I had no previous experience with the story but I immediately fell in love with it, catapulting the production into my list of favourite shows of the year. Upon hearing it was returning for a second festive season this year, I wasted no time in getting myself to National Theatre to give this gorgeous show another whirl. Would it still be as en pointe as it was last year, or would this second visit prove tutu much?

First published in 1936 and re-imagined in various mediums over the decades, Ballet Shoes made its long-awaited stage premiere last year. It tells the story of the three self-named Fossil girls. When eccentric explorer Matthew (known as Gum) takes in his great-niece Sylvia, he adds to the family by rescuing three babies on his travels. After disappearing and leaving Sylvia to raise them, the three Fossil girls develop very different loves of acting, ballet and engines, trying to keep their growing family together and making a name for themselves in a world where ambitious women have historically been tied to men.

I spoke at length about what makes Ballet Shoes such a remarkable production in my original review last year. At the risk of repeating myself, all of that is still valid, though it feels even slicker this time around, managing to bring something new while remaining comfortably familiar. The result is a production even more magnificent and jaw-dropping than its initial run last year. Kendall Feaver adapts Streatfeild’s best-selling book with no shortage of heart and humour, ensuring a warm tale of dreams, family and the essence of humanity that doesn’t fail to connect. With frequent moments that make you laugh out loud and several more poignant and sensitive scenes, this adaptation has been exceptionally written, furthering the enduring legacy this story and these characters hold to so many through multiple generations.

If you are unfamiliar with the concept of Ballet Shoes, don’t be put off if you are not a lover of ballet yourself. While ballet unsurprisingly forms a part of the story, it is so much richer than that. More-so, Ballet Shoes feels like a love-letter to theatre itself, with the three Fossil girls studying the art of it, and productions of Alice In Wonderland and A Midsummer Night’s Dream taking place throughout the story. It stretches far beyond that, however. It is not simply about theatre, it is about life and love. If you have a beating heart, I have no doubt you will find something to fall in love with during this production - even the more hard-nosed Scrooge’s out there would surely fall for its charms,

Aside from one small scene that takes place at Christmas, Ballet Shoes isn’t technically a Christmas show, yet there is something about it that feels so fittingly festive. The abundance of heart that bursts from the story encapsulates the very meaning of the festive season - while there may not be any Christmas carols to sing or sausages to pass through the audience (you’ll have to venture to another Christmas show in Waterloo for that one), there is something about Ballet Shoes that gets you feeling the festive spirit. I always harp on about the joy of theatre being its ability to make you feel, and the way Ballet Shoes makes you feel is second to none. Warm, cosy and comforting, seeing this show is the equivalent of wrapping up under a heated blanket on the coldest of days or tucking into a glass of mulled wine. No matter how old you are, Ballet Shoes can make you feel like a kid at heart again,m tapping into your sense of childlike wonder, as theatre at its best can do. The result is pure, joyous theatrical magic.

A big part of the success of this is Katy Rudd’s sensational direction. I got the sense that there is a real love of this story from the creative team, and this has been reflected in their inspired and always note-perfect choices. The playful nature of the staging and exquisite way the story unfolds is faultless at every turn, with some truly astonishing sequences to behold throughout. Highlights include a modern, bizarre but brilliant take on Shakespeare that kicks off act two, bringing the action to new heights… literally, while the Alice In Wonderland sequence may be a show-within-a-show, but perfectly demonstrates the genius of all involved with this production. The most memorable and striking sequence is a much more tender and intricate one, involving the aging Madame Manoff and her younger counterpart. As her life flashes before her, it is a sensational exploration of the fleeting nature of life, resulting in the most poignant part of the show that was every bit as beautiful as it was heartbreaking.

It would be wrong to mention these sensational sequences without crediting the fantastic choreography of Ellen Kane, filling the stage with life and covering every inch… sometimes beyond the confines of the stage itself. With ballet in the title, having cast members in the audience teaching them to dance before the show even starts is an inspired touch and one I promise is not as terrifying as it sounds (though I’m thankful they didn’t ask me to attempt it… as are the audience who were spared that horrific sight if I had). Immersing you into the marvellous and colourful world of the Fossils before the show has even begun, it's rare to claim to be enjoying a show before it even starts, but Ballet Shoes manages it.

Frankie Bradshaw’s gorgeous set design creates a magical, larger-than-life world. Transforming the Fossils home, there is a great use of lighting from Paule Constable and video from Ash J Woodward to create some stunning effects, making the static set move through clever touches. There is a real sense of magic to be found here, heightened by Chris Fisher’s illusions. Cast members appearing and disappearing continuously through inventive ways always thrills, and never risks getting old.

Several returning cast members are joined by some newcomers this year, with Anoushka Lucas marvelling in her role as Sylvia, striking the right balance between the Fossil sisters’ sometimes stern guardian, and the big kid that lurks inside of her. Lesley Nicol is a joy to watch as Nana, with Raj Bajaj getting some pleasingly comic moments as Jai Saran. Returning cast member Nadine Higgin delights as Theo Dane, with Pandora Colin getting one of the more tender moments with her sensitive role as Doctor Jakes.

The three Fossil sisters are all remarkable in their own right, with Sienna Arif-Knights, Nina Cassells and Scarlett Monahan delivering exceptional turns as Petrova, Pauline and Posy respectively. Though they each get moments to shine individually, it is the frequent scenes where the three are together that true magic happens on that stage, with their chemistry bringing a warmth and authenticity to their sisterhood. 

There is one performance it is impossible to ignore, or several performances, though all played by the same person. What Justin Salinger does on that stage is nothing short of miraculous, showcasing enormous versatility in increasingly demanding roles that often need him to transform from one to another in mere moments. As Great Uncle Matthew (Gum), he is brilliantly eccentric, delivering an over-the-top and joyous performance that you can’t help but smile at throughout, thanks to his glorious use of storytelling through acting. He showcases a very different side as Madame Manoff, bringing an emotional core to the story and providing one of the standout sequences in a particularly poignant moment, Though Ballet Shoes is about the Fossil sisters, these two roles are integral parts of the story, collectively ensuring one of the strongest stage performances of the year.

Ballet Shoes was one of the more refreshing and distinctive shows of 2024, and somehow this time around, it’s even better. The perfect tonic for what can be an increasingly dark and scary world, settling into the Olivier Theatre this Christmas (and beyond) allows you to immerse yourself into a magical world that feels oddly comforting. Leaving the theatre with a big smile on your face, Ballet Shoes equips you to face reality once more, knowing you have that wonderland to lose yourself into. While the nearby Old Vic has its annual Christmas show with A Christmas Carol, it feels as if National Theatre have inadvertently created their own festive tradition. While this is now the second Christmas season it has played at the Olivier Theatre, I would be happy if this continued to come back each year so it can wow audiences of all ages. Still dancing circles around most festive productions, Ballet Shoes holds the perfect balance, and had me longing for an encore.

Ballet Shoes plays at the Olivier Theatre until 21st February 2026. Tickets from https://www.nationaltheatre.org.uk/productions/ballet-shoes/ 

Photos by Alastair Muir