Ballet Shoes, National Theatre (Olivier) Review
Nadine Higgin (Theo Dane), Grace Saif (Pauline Fossil), Daisy Sequerra (Posy Fossil) and Yanexi Enriquez (Petrova Fossil) in Ballet Shoes at the National Theatre. Photo by Manuel Harlan.
Written by Penny for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Published in 1936, Noel Streatfeild’s story of the three adopted Fossil sisters is a classic children’s book, even getting a mention in the film You’ve Got Mail. It’s a story that should resonate with any child with stars in their eyes, following the adventures of Pauline, Petrova and Posy as they embark on their junior theatrical careers, aiming to boost the family’s cash-strapped coffers.
In the story, as well as learning about the sisters’ experiences at the Children’s Academy of Dancing and Stage Training, we meet a range of colourful characters both at the school and lodging at the family home. They become family to the girls, encouraging, cheering and guiding them along the way as the sisters vow to shape their own destinies.
This new adaptation of the classic story for the stage is written by Kendall Feaver and directed by Katy Rudd, who returns to the National having previously directed the highly acclaimed production of The Ocean at the End of the Lane.
Feaver’s script still places the story firmly in the 1930s but the dialogue is modern. This shouldn’t work but somehow, it does. She has also made some minor changes to some of the characters and storyline that stay true to the essence of Streatfeild’s novel but make the story accessible and relevant to a contemporary audience. It’s an excellent adaptation, further enhanced by Rudd’s strong directorial choices.
Frankie Bradshaw’s set instantly gives the impression of the large and slightly shabby house on Cromwell Road that is home to the sisters. On every level, there are fossils, side by side with paintings that suggest what these prehistoric creatures may have looked like. It’s very clearly the home of the eccentric palaeontologist, Great Uncle Matthew (or GUM as the family affectionately call him). whose adoption of the girls set the story in motion. As the action progresses, we move from rooms in the family home to the dance academy and various theatre and film sets – with cast members moving furniture around the stage to create the scenes. Each one is distinctive through very simple changes.
The play opens with a brilliantly staged sequence of events, taking us from the high seas to scaling mountains, accompanied by dramatic lighting (Paule Constable) and sound (Ian Dickinson for Autograph) as the sisters’ back stories are explained. GUM, played at this performance by Philip Labey, immediately draws us into the action with his chaotic enthusiasm for his adventures and beloved fossil collection. We soon learn that the sisters have opted to take Fossil as their surname, as a nod towards their benefactor who, as the story proper begins has disappeared on another of his missions.
At its heart, this is a story of female empowerment and the majority of the characters are women. Each one has a story to tell and a talent that should be nurtured and celebrated – whether it’s Sylvia’s artistic ambitions or Petrova’s passion for cars and aeroplanes. We meet dance teacher Theo Dane, played by with flamboyant warmth by Nadine Higgin and the academic Dr Jakes, played at this performance by Stacy Abalogun bringing a much needed aura of calm that balanced the bigger characters really well.
Rudd’s direction of her talented company means that each character is likeable without glossing over any flaws, allowing for Pauline and Posy’s slightly diva-ish tendencies to be shown, but at the same time keeping the audience very firmly on their side.
Although there are some changes made bringing this story from page to stage, it does still closely follow the book when it comes to the sisters’ theatrical engagements. A sequence showing Alice in Wonderland in performance, at the same time showing us some of Pauline’s personal development, is highly entertaining and an opportunity for the company to inhabit Lewis Carroll’s larger than life characters in this energetic interpretation of the story. And when the sisters are cast in a futuristic production of A Midsummer Night’s Dream the ridiculous “vision” of their director brings a reaction from Nana, played by a brilliantly deadpan Jenny Galloway, that surely sums up a lot of people’s feelings about pretentious theatrical ideas! It also gives young Petrova, often in the shadow of her sisters, a joyful moment to shine.
Of course, in a production with the name Ballet Shoes, there is an expectation that there will be ballet. Choreographer Ellen Kane does not disappoint. From the beautifully fluid set changes to impromptu gatherings, formal dance classes and then big production numbers, the dancing is spectacular. As well as showcasing the talent of the company, she also injects humour into the choreography, most evident in the dance shared by the delightful Sylvia (beautifully played by Pearl Mackie) and Jai Saran (a charming Sid Sagar) – dinosaurography at its finest!
The dance highlight for me came when Madame Fidolia (Philip Labey in such a contrast with GUM that it took me most of the first act to realise that the part was doubled!) reminisced about her past, with a stunning and emotional ballet, led by Xolisweh Ana Richards, that told her story better than any monologue could have done.
At the heart of the show are the three Fossil sisters. Pauline (Grace Saif), Petrova (Yanexi Enriquez) and Posy (Daisy Sequerra) are perfectly cast, showing us the growing pains and the highs and lows of these young lives. They’re completely believable as the children, bringing an innocence to their performances, as well as the determination that drives them to succeed and showing a clear bond with each other and the rest of their chosen family. Each has a chance to shine that they absolutely embrace. Saif shows her comic ability in a dramatic audition choice and when filming her first part in a movie alongside a leading man who is more interested in the buffet than the scene. Enriquez gives us a strong character whose delight in something as simple as the Croydon airfield is infectious. And in her final solo routine, Sequerra shows that she shares Posy’s star quality.
As its finale, Ballet Shoes brings the whole company to the stage in a fabulous celebration of dance. It’s the perfect ending to a production that is actually about so much more than ballet – it’s about family, female empowerment and the absolute joy of following your dreams, whatever they may be. The perfect night out for the whole family.
Ballet Shoes runs at the Olivier Theatre until 22nd February 2025. Find out more and book tickets here.
★ ★ ★ ★ ★
