★★★★★
I should probably start by declaring a prior interest in the subject material for The National’s 2024 winter season family show. Noel Streatfeild’s Ballet Shoes is one of two books from my childhood that makes the list of my favourite books as an adult: and I would guess I’m not alone. Of course, this is where The National is taking a risk. This is the first adaptation of the novel to be staged professionally and having never been out of print since its initial release in 1936 it is clearly well loved and held in great affection by generations of readers. So, has the risk paid off?
For those who aren’t familiar with the story, Ballet Shoes tells the story of three adopted sisters, Pauline, Petrova, and Posy Fossil. They were found in different places around the world by a palaeontologist, Gum (Great Uncle Matthew), who brought them home to London (before going missing) where they were raised by his great-niece, Sylvia and the housemaid-cum-granny-figure, Nana. The sisters resolve to make their own way in the world: that their achievements will be theirs alone and that no one else will take the credit for them as they are the only ‘Fossils’: a name chosen by them. Throw in three lodgers who move in to help make ends meet and you have the most delightful ‘family’ of misfits
The novel is firmly set in the early 1930s and the adaptation does, thankfully, retain this time period: it has not been set in the 21st century. And whilst it retains the setting and the story, Kendall Feaver has made some alterations to appeal to modern audiences and add some diversity into the story. For me, these changes worked and did not do anything to diminish the fond memories I had of the original. If anything they brought out some of the themes that were not so obvious and made the characters feel richer.
Grace Saif (Pauline), Yanexi Enriquez (Petrova), and Daisy Sequerra (Posy) give wonderful performances as the Fossil sisters. Each brings out the unique aspects of their characters and blend perfectly as a trio, carving out their own spaces in a house of misfits. Saif is fierce and defiant as the eldest who dreams of being an actor. She perfectly portrays a 15 year old who is struggling to be herself, but at the same time frustrated by the feeling that she has no place in the world and is just someone with a made up name. Yanexi Enriquez has possibly the hardest job as the character of Petrova can often be overshadowed by the other two. Naturally this story attracts readers who have a love of the theatre, and yet Petrova does not, wanting instead to be a mechanic. I love the passion Enriquez gives to her portrayal of the character, and she certainly does not allow the other two to dominate the story. This could also be down to this particular adaptation which puts her more centre stage. Sequerra is perfect for Posy (she was always my favourite character). Hot headed and self-centred, with a confidence that borders on arrogance, her portrayal still allows us to feel a connection with her and a sense of joy when she is able to follow her passion of dance. Her dancing is also a joy to watch.
But this is not a play about three sisters. It is truly an ensemble piece. Pearl Mackie as Sylvia is the voice of reason in a house filled with passion, even when she retreats to the linen closet! Jenny Galloway has some of the funniest lines as Nana and she displays a real love for the three girls. Nadine Higgin plays Theo Dane who introduces the girls to the world of dance and her arrival certainly brings colour and life to the otherwise dark house, filled with fossils (literal ones, not the girls). The characters of Doctor Jakes (Helena Lymbery) and Jai Saran (Sid Sagar) mark the biggest shift from the source material but neither feels forced into the narrative. Lymbery is the mentor figure we all wish we had: tough, but inspiring everyone in the audience to be true to themselves and follow their dreams, rather than conforming to what the world expects of them. Like the 2007 film adaptation, Sagar is given the role of the romantic interest for Sylvia and it doesn’t feel forced into the plot. Lastly, Sonya Cullingford, gives a wonderful portrayal of Winifred, a classmate of the girls, and Pauline’s understudy in her first stage production.
Direction is by Katy Rudd who also directed the National’s hugely successful adaptation of The Ocean at the End of the Lane (and for fans of that production, you may get flashbacks when a bath, a sink, and a door appear on stage!). The set (designed by Frankie Bradshaw) cuts the depth of the stage at The Olivier in half and Rudd makes great use of what remains. Scene changes are carried out by the ensemble and are smooth and cleverly choreographed. Through her direction, the use of adults to play children never feels forced of cloying and she draws heartfelt performances from the actors. I specifically liked the transition scenes when the girls start at the theatre school where we saw them melt in to the group of students and yet at the same time we could still feel the awkwardness of settling into a new school and a new way of life. The direction is also perfectly complemented by the choreography by Ellen Kane. Of course it includes ballet, but also jazz and swing. Even if you aren’t a fan of dance you will almost certainly be entranced by the ballet sequences.
I do want to touch further on the set design. The stage floor is wooden boards, reminiscent of theatre stages in the early part of the 20th century, and along the front of the stage are the clam shell lights from the same time period. This immediately puts you firmly in the setting for the play. The main set piece is the interior of the house, 999 Cromwell Road. Two-storey, in dark green, it is filled with fossils, pictures, doors, book cases, and draws. It is a jumble of items which foreshadows the jumble of inhabitants who will live there. It also gains an added dimension from the lighting design by Paule Constable. In contrast to this main set piece we have bright colourful pieces flown in for the stage performances that the girls take part in.
If you are looking for something to take the children to this winter – or to take yourselves to: no requirement to have children accompany you! – then you can’t go wrong here. It is not just a story for girls (as it is often portrayed). It is a story about being true to yourself and discovering what is possible if you live without boundaries. This is one way in which Petrova plays a more pivotal role than I remember from the book as for a young girl to want to fly planes and become a mechanic in 1934 would be unusual. If you have seen The National’s family winter productions from the last few years (Hex or The Witches) then you definitely won’t be disappointed. This definitely stands out as the best of the last three years.
Ballet Shoes is playing at The Olivier Theatre, at the National until 22 February 2025. Tickets are available here.
Photos © Manuel Harlan
Act 1 Beginners 