Ballet Shoes

(seen at the afternoon performance on 21st December 2024). Some actors have now left the cast.

Oddly, the monkey only came to this book as an adult. The tolerance of stories 'being for everyone and anyone' when it was a child hadn’t been invented – so the humiliation of being seen with a “girl’s book” was to be avoided if you valued your peace over your education at school (see also anything to do with theatre, or basically anything except football if you were male).

It did finally buy a copy, and also the Carrie Hope Fletcher “sequel” ... and rather loved both. Feminism before it was coined, and of course girls should be who they are and do what they love most as a career. That it was being said in 1936 when the book was written built on the previous war effort, and became a precursor to the second fight a mere 3 years later.

Filmed for television twice (the monkey saw neither, no good reason except it watches little TV due to time), it was amazed to learn this is the first stage adaptation. Turns out to be a pleasant way to spend an afternoon.

On entering the auditorium, Frankie Bradshaw’s set is a wonder. The Natural History Museum on all sides of the stage. Wit abounds – the car number plate “W3 FV2” (“We Three Fossils Vow To” – geddit!) is a highlight, as are the bedrooms, bathrooms, theatres and more. 

Chris Fisher creates an excellent mirror illusion within it, with Paule Constable and Ian Dickinson for Autograph also working to give us sound and light both “in period” and atmospheric.

The trio of foundlings in this eccentric home are well played. Aspiring actor Pauline (Grace Saif) is expressive, with a touch of inner strength.

Pilot and mechanic Petrova (Yanexi Enriquez) is grimly and grubbily determined. Leader, fearless (proving it in one scene), and an inspiration. Making the most of the least “stagey” storyline to create a lasting impression.

As ballerina Posy, Daisy Sequerra may have the easiest job establishing her character, but physically the hardest as her ballet background is stretched. She has the broadest emotional arc as well, learning to control her ambition.

Philip Labey (in for absent Justin Salinger) as explorer father Matthew and Posy’s mentor Madame Fidolio is also rather wonderful, excelling at both nutty professor and passionate ballet supreme ballerina.

While he is away, left looking after the home, Pearl Mackie as Sylvia (first foundling, Garnie to her younger charges) is strong from her first cheeky breakthrough; a lovely moment of quiet later in the second half proving an interesting change in pace.

Strong work too from Nana (Michelle Cornelius, in for absent Jenny Galloway), Helena Lymbery as Dr Jakes and Sid Sagar as Jai Saran, lodgers drawn into the hi-jinks.

The problem is that Kendall Feaver’s adaptation and Katy Rudd’s direction are both somewhat ponderous. Ellen Kane’s choreography is fine, but as the straightforward storyline progresses it does feel as if there is rather too much of all three.

Scenes are either elongated or simply surplus to requirements. We establish early the ballet theme, and message of learning, but see too much of both thereafter - at the expense of keeping things moving along. A very small girl three seats from the monkey was alternately intrigued and bored – and (as she told proudly the pre-show performer being wonderful to her) she is an aspiring ballet dancer herself.

The ending is stretched to provide an oddly mechanical big finish to a human tale, and a final cast dance number would have been more welcome around 30 minutes earlier.

Still, by National Theatre Christmas Show standards, and given that “The Witches” is not ready for another outing, this proves a satisfactory if not exceptional alternative to panto – particularly for dance-positive people who want only the best for women. Count the monkey in on both.