Michael Powell’s 1948 film, starring Moira Shearer, comes to the stage, stopping in Bradford where LEO OWEN caught The Red Shoes

HAVING taken on dreamscape and nightmare worlds in previously ambitious projects, such as Edward Scissorhands or Lord of the Flies, The Red Shoes seem like a perfectly-suited new adventure for Matthew Bourne’s company. The original film used Hans Christian Andersen’s classic fairy-tale as the subject for a new ballet that aspiring dancer, Victoria Page, is cast as lead. Like Andersen’s story, in Powell’s film Vicky’s work and life bleed into one as she is controlled by the titular red shoes.

Bourne’s stage adaptation closely follows the film but significantly alters its soundtrack, instead using music by acclaimed Hollywood composer Bernard Herrmann. Designer Lez Brotherston’s set cleverly and fluidly moves the action across the globe and despite the lack of dialogue, transportations are easily sign-posted. A retractable and revolving framed stage curtain is used to show house front and backstage, occasionally with one curtain closed to create a split stage effect. Projections combined with props help to enhance the atmosphere and create locations, such as the Monte Carlo setting using a lamp post, sea backdrop, stone balcony and moon projection.

As the shoes begin to take over Vicky’s life, Bourne’s adaptation becomes increasingly frenzied and hellish. Brotherston complements this with projections of fast-moving clouds; a storm; dark skies; houses silhouetted onto a white screen and a graveyard. Meanwhile dancer’s arms and legs randomly poke out of the wings and a male dancer scuttles across the stage wearing the red shoes on his hands as if controlling Vicky. Black and red costumes and feathery-tiered dresses add to the sense of unease, alongside flickered lighting as shadowy figures lurk and Vicky’s movements become more desperate.

Despite its dark subject matter, The Red Shoes is injected with quirky moments of light-relief. A beach routine, including giant beach balls, is fun and energetic to watch; a café dance scene is full of comical acrobats and an Egyptian dance is played for laughs.

Those unfamiliar with Bourne’s work or Powell’s film might view The Red Shoes as a tad melodramatic and self-indulgent at times, potentially struggling to follow the story. However, it’s easy to identify with Vicky, Powell’s burnt-out lead, struggling to balance her work with her home life.

Plot aside, Bourne’s overall vision is typically stylised and genuinely mesmerising, full of beautiful performances and raw emotion. There are plenty of subtle clever touches and strong performances that should have prompted a much-deserved standing ovation. Salvador Dali directs ballet?