Ballet Shoes ★★★★★

In 2024, the National Theatre debuted Kendall Feaver’s version of Ballet Shoes and was criticised for its lack of ‘dramatic punch’. But now, Ballet Shoes is back, with a glittering, partially new cast, and this production is marvellous. Amongst a team of great performers, Sienna Arif-Knights (Petrova), Nina Cassells (Pauline), and Scarlett Monahan (Posy) debut in this show and tell such an important tale of young feminist resilience.

Like most great stories, this one begins in a house, owned by Great Uncle Matthew/GUM (Justin Salinger), the esoteric palaeontologist. Over time, his house full of old bones livens up when three orphaned sisters, brought together by nothing but a name, are found by GUM on his travels and taken in by Nana (Lesley Nicol) and Garnie (Anoushka Lucas). As the girls speculate on building the skeleton of their new lives in a matriarchal setting, they learn of their financial problems. With the help of their witty Nana (Lesley Nicol) and eccentric lodgers, they find solace, confidence, pride, and money through performance.

First of all, the staging of the piece is pure spectacle. They have everything. From cars and bathtubs to hula hoops and fossils, not to mention staging about four other productions within this one, Frankie Bradshaw’s set design is a radiant feast for the eyes. With a lively ensemble managing all the extravagant props effortlessly, this production is visually epic.

On this note, Samuel Wyer must also be commended for his dazzling costume design. He fuses classic 1930s silhouettes with charming, relevant feminist fashions to symbolise the progressive nature of the story. He keeps the sisters’ costumes simple yet bold, which necessarily highlights the individuality of each girl while tying them together through fashion. Because of some modernisation in costume and set, it can seem unbelievable at times that this story takes place entirely in the 1930s.

However, for a family-friendly show that aims to uphold Streatfeild’s intentions for a modern audience, these updates are needed! And to complement all the staging, lighting designer Paul Constable enhances the story with such vibrancy that it keeps you glued and is truly evocative. Communist reds and romantic oranges, juxtaposed with murky greens and promising blues, elevate the naughtiness and nostalgia that make Ballet Shoes so entertaining. No doubt about it, Ballet Shoes will keep viewers of all ages in awe.

The orchestration and sound engineering are faultless. Much like the costume, nostalgic wartime charlestons offset modern percussion, creating a subversive fairytale atmosphere in Ballet Shoes. The sound of a full orchestra accompanies the performers in style, with energetic swing and melancholy legato. The production uses a pre-recorded orchestra that is piped through the theatre, and with the sheer volume of composition that is required for such a show, conductor Gavin Sutherland and engineer Jeremy Murphy must not be forgotten in the praise. Hats off to Ian Dickinson for his sound design too. He transports you to the scene with skill, especially in a moment when a radio is used on stage that then fades into the auditorium seamlessly. It’s a tricky piece of engineering, executed with ease. The attention to detail in this soundscape is just one of many reasons why Ballet Shoes is a pleasure to experience.

Onto the acting. All three girls in the leading roles have inspirational chemistry, all deserving of high praise. Petrova Fossil (Sienna Arif-Knights) dreams of being a mechanic and adores spark plugs and car brochures. She is fiercely determined and refreshingly clever. Her voice, physicality and expressions are open, and the giving nature of her performance brings fun and love to Petrova. Arif-Knights’ stellar performance inspires young girls. To contrast Petrova’s whimsical attitudes, Posy Fossil (Scarlett Monahan) shows resilience and inner strength, and it is clear that Monahan possesses these qualities herself. She delivers a beautiful and desperate dance solo in the second half that convinces you to root for her vindication. Monahan’s embodiment of Posy is mischievous and delightful. Nina Cassells performs Pauline Fossil with comedy, sincerity, and inspirational skills. She has natural comic timing and excellent chemistry with all her scene partners (in particular Pandora Colin, playing Doctor Jakes). There is a wonderful moment of reflection as Pauline’s face is projected onto the back wall. For these 30 seconds or so, with no words, Cassells sells you a message of pride, excitement, and the incredible power that young women hold within them. She also delivers an empowering, laugh-out-loud monologue; her range is unreal. Nina Cassells is one to watch.

Feaver also does an excellent job at writing queer characters. Pandora Colin plays Doctor Jakes, a ruthless widowed lesbian that becomes Pauline’s teacher, also learning a lesson in resilience herself. Colin’s razor-sharp execution of her character does justice to the perhaps forgotten women of history and is a treat to watch. The same can be said for Justin Salinger’s brilliant embodiment of all five characters, male and female. He has a natural flair that makes him captivating in any role. Respectfully, he’s a hilarious dame, with indisputable class.

Perfect for the season, Ballet Shoes is an outstanding production that is bound to impress. There is something for everybody: music, dance, mechanics, comedy, nostalgia, history, and fantastic staging. The story is rooted in suffering due to the exigency of war, but fundamentally, it gets you rooting for three young girls, which is revolutionary. Feaver’s version does everything in its power to make this production accessible, hilarious and relevant. Ballet Shoes is a soaring joy to watch.