As winter sweeps across theatre stages, most venues stick to the glitter and giggles of pantomime, complete with has-beens in sparkly costumes singing their one-hit-wonder. But the RSC has ventured into far darker territory with The Red Shoes, proving that not all festive tales need a glass slipper — or a happy ending — the captivate an audeience. Forget the fairy dust; this is storytelling with a chilling bite.
Nancy Harris’s play is based on the Hans Christian Anderson fairytale of the same name. The Red Shoes is a dark story about Karen (Nikki Cheung), an orphan, who is taken in by her distant relatives Bob (James Doherty) and Mariella (Dianne Pilkington), where she encounters their creepy son Clive (Joseph Edwards) and their near-blind housekeeper, Mags (Sakuntala Ramanee). Mocked for her dancing, Karen finds solace in a magical pair of red shoes crafted by the shoemaker Sylvester (Sebastien Torkia), which five her newfound confidence. However, the shoes taken on a life of their own, causing chaos at a dinner party and contributing to Mags’ heart attack — to which Karen becomes Mag’s caretaker.
The shoes beckon Karen to a party in the forest where she captivates a Prince (Kody Mortimer) with her dancing, but the shoes will not let her leave the party, and Mags dies without her care. In a bid to avoid and future danger in relation to the shoes, Karen begs Clive to cut off her feet. After a period of mourning, Karen realises she doesn’t need feet to dance, and returns to the forest as snow begins to fall, but learns that the Prince is shallow and does not love her without her feet.
The show’s choreography is where it truly shines. From the grace and precision of the ballet sequences to the chaos of a dinner-party spat — complete with airborne furniture and kitchenware — the physicality is a marvel to watch. The cast brings incredible energy and detail into their movements, turning even the smallest gestures into character-defining moments. There’s also a sprinkling of physical comedy that lands beautifully, adding layers to the already vivid tapestry of performances. However, not all the humour hit the mark. The scripted jokes, particularly a cringe-worthy midlife crisis quip from Bob, seemed to fall flat the majority of the time.
The staging was simplicity at its finest, keeping the design minimal to give the dances the space they needed to bring the story to life. The live band’s music was nothing short of magical, drawing the audience deeper into the unfolding drama, highlighting the importance of music in storytelling. Add in the evocative lighting — which was mostly red — and you’ve got a production that excels in its atmosphere. A masterclass in how sound and visuals can elevate theatre without the need for excess.
The runtime clocks in at just over two hours, plus an interval, but you hardly notice the time passing. The high energy and rapid narrative flows seamlessly. The pacing feels deliberate, balancing quieter moments with bursts of intensity. However, while marketed as a family show, its darker themes and gruesome moments — like Clive’s decision to cut off Karen’s feet — raise eyebrows. The lack of significant consequences for this act feels wrong, and may leave some parents with a bad taste in their mouth.
Nikki Cheung is mesmerising as Karen, delivering a performance that feels both delicate and powerful. Her technically difficult dance sequences appear effortless, a testament to her remarkable talent. Dianne Pilkington and James Doherty bring a deliciously over-the-top flair to their villainous roles, perfectly channeling that larger-than-life energy. However, their performance sometimes teeters on the edge of pantomime.
Would I recommend The Red Shoes as a family outing? That’s a tricky one. As a piece of theatre, it’s beautifully crafted — an impactful and thought-provoking productions I genuinely enjoyed. Bus as a family show, it falls into a grey area. It doesn’t quite have the magical spectacle or light-heartedness that usually holds the attention of young children. After all, the appeal of larger-than-life theatre is often what draws families in, much like why Die Hard (despite being a Christmas masterpiece) isn’t exactly a bedtime story for a 5-year-old.
At the same time, it’s not quite dark or mature enough to position itself as an edgy alternative for adults seeking something more sophisticated this season. The production seems caught between worlds, making it hard to pinpoint its ideal audience — young teenagers perhaps?
That said, The Red Shoes is undeniably brilliant theatre. With stunning music, great choreography, and a compelling story brought to life by a talented cast, it’s well worth seeing. Playing at The Swan Theatre, Stratford-Upon-Avon until the 19th of January 2025.
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