Review: The Red Shoes At The Wales Millennium Centre
Matthew Bourne’s The Red Shoes at the Wales Millennium Centre is the sort of show that looks effortless and, behind the scenes, is anything but. It’s cinematic in scale, lean in storytelling, and full of moments that will stick in your head after you’ve left the theatre. This is ballet at its most cinematic.
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Matthew Bourne’s The Red Shoes is at the Wales Millennium Centre until 7 March
Matthew Bourne's production of THE RED SHOES. Andy Monaghan (Boris Lermontov). Photo by Johan Persson
I’ll admit, I’m not hugely immersed in the world of dance, so going in, I wasn’t entirely sure what to expect from Matthew Bourne. But even if you don’t follow ballet closely, his name carries weight. Bourne is one of the UK’s most celebrated choreographers, known for reimagining classics in bold, theatrical ways. Most famously his all-male Swan Lake. He’s a multi-award-winning creative, with Olivier and Tony Awards to his name, and a reputation for making dance feel accessible to wider audiences.
The story follows Victoria Page, played by Hannah Kremer, as she finds herself torn between love and ambition, between the man she loves and the impresario who demands everything from her art. Kremer is magnetic from the start. There’s something almost weightless about her movement; at times she feels less like a dancer and more like a flicker of light crossing the stage. In one sequence she moves like a butterfly caught between freedom and captivity, delicate, determined, and utterly compelling.
Leonardo McCorkindale and Reece Couston complete the central trio as Julian, the struggling composer, and Boris Lermontov, the commanding ballet impresario. McCorkindale brings warmth and softness; his chemistry with Kremer feels grounded and human. Couston, on the other hand, is all control and quiet intensity. There’s a duet between him and Kremer that feels less like romance and more like possession, a puppeteer pulling invisible strings. It’s subtle but powerful. You can feel the pressure without a word being spoken. That’s one of the production’s biggest strengths: it trusts movement to do the talking.
There is no dialogue. Not a single line. And yet the storytelling is crystal clear, most of the time. The score shifts effortlessly from serene to unsettling, guiding us emotionally from scene to scene. At moments it swells beautifully, at others it tightens the atmosphere like a held breath. Music and movement work in tandem. When the tone darkens, the stage darkens with it. When hope flickers, so does the choreography.
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Matthew Bourne's production of THE RED SHOES. Cordelia Braithwaite (Victoria Page). Photo by Johan Persson
The cast as a whole is phenomenal. Ballet can sometimes feel exposed, one weak link is noticeable, but here there simply isn’t one. The ensemble moves like a single organism, packs of dancers sweeping across the stage with precision and unity. They don’t seem to just perform together, they breathe together.
It’s visually stunning from start to finish. Costume plays a huge role in that. Ballgowns shimmer. Tailored suits sharpen the mood. Each look refreshes the stage and signals a tonal shift. It keeps the production feeling fluid rather than repetitive, something I’ll admit I sometimes worry about going into longer ballets.
And then there are the set pieces. One of the most striking sequences comes in the bedroom scene. Giant curtains rotate to reveal two separate rooms, swinging us between Victoria with Julian and Lermontov alone in his own space. The staging mirrors the emotional tug-of-war perfectly. One turn of fabric and we’re in a different reality. It’s clever without feeling gimmicky. Theatre magic at its most seamless.
Matthew Bourne's production of THE RED SHOES. Cordelia Braithwaite (Victoria Page) and Dominic North (Julian Kraster). Photo by Johan Persson
There’s also a lighter moment, two male dancers in Egyptian-inspired costumes performing a sequence that leans almost into sketch territory. It’s playful and knowingly theatrical. The audience laughed. It’s proof that ballet doesn’t have to be solemn to be sophisticated.
That said, I’ll be honest, I did find parts of the narrative slightly difficult to follow going in blind. I usually prefer experiencing a show without prior research, but this is one that perhaps benefits from knowing the source material. During the interval I quickly read up on the original story, and certain emotional beats made more sense afterwards. The ending, in particular, felt a little rushed to me. A dramatic crescendo that arrived almost too quickly.
But even when I wasn’t entirely clear on the plot, I was never bored. Because at its core, this production is about spectacle and devotion to art. It’s about obsession. About ambition. About the cost of greatness. And those themes come through loudly and clearly in the choreography alone.
The titular red shoes themselves become a symbol. Desire. Destiny. Danger. In one duet, they feel almost alive, drawing Victoria back to the stage as if pulled by gravity. It’s haunting in the best way.
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Matthew Bourne's production of THE RED SHOES. Dominic North (Julian Kraster), Cordelia Braithwaite (Victoria Page) and Company. Photo by Johan Persson
Is it the most emotionally gripping show I’ve ever seen? Maybe not. But is it one of the most visually arresting? Absolutely.
It’s bold. It’s polished. It’s absolutely beautiful.
For anyone curious about ballet, whether you’re a seasoned theatre-goer or someone who rarely steps into one this feels like the right entry point. It’s accessible without being simplistic, dramatic without being overwhelming.
Ultimately, The Red Shoes is a feast for the eyes and a showcase of extraordinary talent. A reminder that sometimes words aren’t necessary when movement says everything.
