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Matthew Bourne’s The Red Shoes 🩰

Matthew Bourne’s The Red Shoes is in Milton Keynes this week at Milton Keynes Theatre, and what a spectacular arrival it is.
the milton keynes business improvement district logo is on a red background .
Joanne McClaren
A ballet performance featuring a female dancer in a red and white dress on pointe and a male dancer in a striped suit, surrounded by other dancers in black against a red backdrop.

With a phenomenally talented cast, a stunning set and the most exquisite costumes, this production is nothing short of breathtaking. We attended press night last night and were completely mesmerised from the moment the curtain rose to the final, devastatingly beautiful scene. It is theatrical storytelling at its most powerful — bold, stylish and utterly absorbing.

Directed and choreographed by the legendary Matthew Bourne, this New Adventures production once again demonstrates why he remains one of the most influential figures in contemporary dance theatre. Bourne’s distinctive ability to fuse narrative clarity with striking choreography is on full display here. The Red Shoes is based on the iconic 1948 film by Michael Powell and Emeric Pressburger, which itself was inspired by the Hans Christian Andersen fairy tale. Bourne honours that rich heritage while injecting his own dramatic intensity and emotional depth, creating a production that feels both classic and thrillingly fresh.

At its heart, The Red Shoes tells the story of Victoria Page, a young dancer whose ambition and raw talent draw her into the demanding world of ballet under the watchful eye of impresario Boris Lermontov. Torn between her dedication to her art and her love for composer Julian Craster, Victoria faces an impossible choice. Cordelia Braithwaite is simply stunning as Victoria — technically exceptional, emotionally expressive and utterly captivating throughout. Andy Monaghan commands the stage as Boris Lermontov, portraying both steely control and underlying obsession with chilling precision. Dominic North brings warmth and sincerity to Julian Craster, providing a heartfelt counterbalance to Lermontov’s intensity. The entire cast ooze talent; every ensemble number is razor-sharp, every movement purposeful. You simply cannot fault the level of ability across the company — every scene is executed to perfection.

A man in formal wear looks towards a woman in a plaid dress on a dark stage, while her face is reflected in an ornate mirror behind him.
A man in a red velvet suit reclines on an ornate chair on stage, arm outstretched, looking intently to the left.
Two male performers in retro swimsuits jump with beach balls against a blue background.
A stage performance with four male dancers elegantly posing with female partners in flowing dresses, set against an ornate backdrop with a large painting of a dancer, red curtains, and a chandelier.
A vibrant stage performance with dancers in swimsuits forming human pyramids and interacting with beach balls, against a "MONTE CARLO" backdrop under blue lights.
Two dancers, a woman in a polka-dot jacket and a man in a light jumpsuit, pose elegantly with arms raised on a blue-lit stage.
A person in blue pajamas and red high heels sits on a bed, looking down at another person in striped pajamas lying on the floor, in a theatrical bedroom set.
Two dancers in an intertwined pose on a stage with an antique bed, lamp, and draped curtain in the background.
A group of ballet dancers on a blue-lit stage with fog and star-like lights.
A performer in a red and green costume stands on a spotlighted stage with a startled expression, in front of dark curtains and a central golden drape.
A stage scene with actors in formal attire. A man stands by a grand piano on the left, and a group of men and women stand center-right. The backdrop is an ornate room with a large painting and chandelier.
A dance performance with a central woman in a black dress being lifted horizontally by surrounding dancers, against a stage backdrop of white abstract wings on horizontal blue and red stripes.
Ballet dancers perform "Sylphide" on stage, with a central couple illuminated by spotlights, framed by stage trees.
A woman in a black fur coat stands center stage under a "Covent Garden" sign and ornate gold curtains.
Two men in period costumes pose with a puppet; one in a pink striped suit and straw hat holds the puppet, while another with a mustache wears a cap and vest, holding a clipboard.
Four male dancers in striped swimwear on a stage with a blue background, two holding beach balls.
A female ballet dancer in a red costume is lifted by two shirtless male dancers on a blue stage under starry lights.
A man on stage holds up a poster for "The Red Shoes" ballet, surrounded by dancers and a man in a tailcoat.
Two dancers on a dark stage: one leaps wearing purple, the other in a suit holds a bat.
A female ballet dancer on pointe in a white tutu and a male dancer perform on a dark stage.
A man in a waistcoat looks distressed, surrounded by blurred dancing figures, in front of a bare tree and a misty mountain backdrop.
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Ballet is not typically a genre we would gravitate towards, yet after seeing Swan Lake last year and now The Red Shoes, we find ourselves completely drawn in by the sheer beauty and discipline of it all. Half our brain is trying to work out who is who and follow every narrative thread, while the other half sits in awe of the athleticism, artistry and emotional storytelling unfolding before us. It is immersive, demanding and utterly rewarding.

The set design is nothing short of extraordinary. Seamlessly interweaving the glamour of on-stage performance with the raw mechanics of backstage life, it cleverly reflects the tension between artistry and ambition — and the relentless pursuit of being the best of the best. The transitions between front and backstage are fluid and inventive, reinforcing the blurred lines between performance and reality. The costumes are exquisite, rich in detail and period elegance. Lex Brotherston is the creative force behind this visual magic, and his designs elevate the entire production into something truly cinematic.

The music, featuring the work of Bernard Herrmann (1911–1975), is sweeping, dramatic and deeply emotive. Herrmann’s score underpins the narrative with urgency and romance, heightening every twist of passion and heartbreak. It is a powerful reminder of how integral music is to storytelling — here, it does not simply accompany the dance; it drives it.

In summary, The Red Shoes is a triumph. If you already love ballet, this is an absolute must-see. If you’ve never experienced ballet before, make this your first — you will not be disappointed. We loved it.

It runs at Milton Keynes Theatre until Saturday 14 February, so book your tickets now.

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