The Royal Shakespeare Company’s The Red Shoes, directed by Kimberley Rampersad in her UK debut, promises a captivating reimagining of Hans Christian Andersen’s dark fairytale. Nancy Harris’s adaptation, accompanied by Marc Teitler’s rich score, offers an ambitious blend of dance, music, illusion, and theatre. While the production dazzles with its visual and auditory splendour, it struggles to find coherence in its storytelling and tone, ultimately delivering an uneven theatrical experience.
One of the production’s most striking achievements is its design. Colin Richmond’s set is a masterclass in visual storytelling, dominated by rich crimson hues that evoke the sinister allure of the shoes and the darker undertones of Andersen’s tale. The stage shifts seamlessly between Karen’s oppressive home, the Nugents’ opulent surroundings, and the mysterious, otherworldly forest, creating a vivid and immersive world. The costumes are beautifully crafted, becoming characters in their own right.
Equally impressive is Marc Teitler’s score, which serves as the production’s emotional backbone. Performed live by a visible band perched above the stage, the music transitions from haunting melodies to whimsical tunes with ease, enhancing the magical and cautionary elements of the narrative. The orchestral pieces are particularly powerful, conveying the tension and beauty of Karen’s dance. However, the inclusion of less successful elements, such as speak-rapping and occasional tonal shifts in the musical style, detracts from the overall impact, making the show feel unfocused at times.
Dance and movement play a crucial role in The Red Shoes, and these moments are some of the production’s finest. Kimberley Rampersad’s choreography captures the transformative power of the shoes, with Nikki Cheung’s Karen delivering a performance that is both physically demanding and emotionally resonant. Her movements convey a journey from insecurity to liberation and ultimately to despair, though the character’s emotional arc is less developed in the script.
The ensemble cast supports the production admirably, with standout performances from Sebastian Torkia and Dianne Pilkington. Torkia, who takes on the roles of narrator, Sylvestor (the shoemaker), and the priest, brings a darkly comedic energy to the production, effortlessly switching between charming and unsettling. Pilkington’s Mariella is a campy delight, embodying the vain and cruel adoptive mother with relish. These performances inject much-needed charisma and complexity into the show, although the same cannot be said for all characters.
The production’s greatest weakness lies in its storytelling. Harris’s adaptation attempts to blend Andersen’s original fairytale with elements of Cinderella and Snow White, creating a narrative that feels both overstuffed and underdeveloped. The central theme of vanity, so integral to the original tale, is displaced. In this version, Karen is not driven by her own pride but is instead a victim of her circumstances and the Nugents’ cruelty. Mariella’s vanity takes centre stage, but this shift undermines the moral core of the story, particularly in the ending, where Mariella faces no consequences for her behaviour.
Karen’s journey is similarly muddled. The decision to strip her of her vanity removes much of the story’s thematic weight, and her character arc lacks clarity. While the red shoes grant her confidence and freedom, the consequences of her actions feel disconnected from her personal growth. The resolution is visually striking but emotionally hollow, as the narrative has not sufficiently explored the cost of her journey.
Loose threads further weaken the storytelling. References to Karen’s deceased parents, particularly her father, are left unresolved, adding to the sense that the script is overburdened with ideas it cannot fully develop. References to characters’ pasts feel as though they build to revelations but are, ultimately, unresolved.
Tonally, The Red Shoes is all over the place. The production opens with a musical flourish, shifts into dark comedy, dips into horror, and attempts to position itself as a family-friendly Christmas show. While each of these elements works in isolation, the lack of a cohesive tone makes it difficult to engage fully with the story. The darker moments hint at the production’s potential to embrace Andersen’s deliciously macabre sensibilities, but these moments are often undercut by jarring shifts in style.
Despite the production’s flaws, the cast delivers commendable performances. Nikki Cheung as Karen is compelling, particularly in her physicality, though the script does not give her much emotional depth to work with. Torkia and Pilkington, as noted, are the standouts, injecting energy and humour into their roles. The supporting cast, including James Doherty as the bumbling Bob and Joseph Edwards as the somewhat psychotic adopted brother, Clive, adds texture to the production, though the characters often feel one-dimensional.
The Red Shoes is a production that shines in its individual components but falters as a cohesive whole. Its stunning design, evocative music, and moments of dark humour and striking choreography suggest great potential. However, the muddled narrative, lack of character depth, and tonal inconsistencies undermine its impact. It’s an ambitious attempt to reimagine a classic fairytale, but one that tries to do too much and loses its footing in the process.
For those seeking a visual and auditory feast, The Red Shoes offers plenty to admire. But for audiences hoping for a compelling and cohesive story, it may leave them wanting.
The Red Shoes plays at The Swan Theatre until 19th January 2025.
Photography throughout from Manuel Harlan.
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