A Festive Comeback Bursting With Theatrical Magic

The stage adaptation of BALLET SHOES is the brainchild of Kendall Feaver, working from Noel Streatfeild’s original novel. The story focuses on three adopted sisters—Pauline, Petrova, and Posy—who reside in a crumbling house brimming with dreams and possibilities. Each child comes to discover her own talents: Pauline’s passion for acting, Petrova’s fascination with aeroplanes, and Posy’s prodigious gift for dance. Under the guidance of mentors, guardians, and the kind of supportive found-family we all secretly wish we had, the sisters strive to realise their ambitions without losing sight of the fragile unity that bonds them together.

Originally staged in the Olivier Theatre last autumn, the production garnered rave notices for its blend of theatrical flair and heartfelt storytelling. With that success, it’s no wonder the National Theatre has decided to revive the show for another festive season. It’s also the first production announced by incoming director and co-chief executive Indhu Rubasingham, who described BALLET SHOES as “a celebration of what the NT does best.” She emphasises that the show encapsulates the collective expertise of many departments—set design, illusions, costume, choreography, music, and more—coming together to produce a family-friendly spectacle that welcomes audiences of all ages.

The Creative Minds Behind The Magic

One of the standout aspects of last year’s run was the seamless coordination among the creative team—a veritable who’s who of theatre wizards. Returning to direct is Katy Rudd, hailed for her delicate balance of realism and fairy-tale wonder. Her prior credits reveal a knack for conjuring immersive experiences that draw viewers directly into the onstage world, and the word on the street is that she’s refining certain scenes to make them even more enchanting this time round.

Standing shoulder to shoulder with Rudd is set designer Frankie Bradshaw, whose swirling, dreamlike aesthetic last year gave the show a bohemian charm while still representing the “crumbling house” at the story’s heart. Costume designer Samuel Wyer’s creations are likewise set to return—these were no ordinary ballet leotards and tights, mind you. Wyer wove subtle thematic details into every garment, from the gentle pastel dresses to the period-accurate fabrics that made the 1930s setting spring vividly to life.

It wouldn’t be BALLET SHOES without, well, dance, and that’s where Ellen Kane enters the picture. As choreographer, she faces the challenge of crafting sequences that showcase Posy’s exceptional ballet talent while also ensuring the show maintains a family-friendly pace. Asaf Zohar composed the score, and Gavin Sutherland served as dance arranger and orchestrator—a dynamic duo who managed to weave a musical tapestry that complemented the story’s emotional beats. And as for illusions, the name you need to know is Chris Fisher, illusions director, who’s rumoured to have a few fresh tricks hidden up his sleeve. Perhaps something to make you question whether the dancers truly do defy gravity?

The entire show also benefits from the skill of Paule Constable in lighting design and Ian Dickinson for sound design, vital for capturing the fleeting moods of each scene. Not to be overlooked, Ash J Woodward’s video design layers in modern technology that accentuates the piece’s nostalgic roots—a deft balancing act if ever there was one. Keep your eyes peeled for subtle, storytelling-rich projections that melt perfectly into the physical set.

BALLET SHOES is more than a quaint children’s tale; it’s a mirror for anyone who’s ever wrestled with questions of identity, ambition, or belonging. The three sisters embody different facets of artistry—acting, dancing, and engineering—yet the production never reduces them to clichés. Each girl grapples with her own path, discovering that true success lies in perseverance, collaboration, and, above all, love for one’s craft.

From a theatrical standpoint, critics have praised the show for blending heartfelt family drama with spectacle fit for the grand Olivier stage. Reviews from the previous run pointed to a level of “theatrical wizardry” seldom matched in similar adaptations. Whether you’re a child enthralled by pirouettes or an adult nostalgic for Streatfeild’s evocative storytelling, you’ll find plenty to feast on.

According to the National Theatre’s data, the 2024 run sold out most evenings, with families making up a significant portion of attendees. The success indicates a robust demand for imaginative family fare—especially during the festive season, when audiences crave cosy, uplifting narratives that span generations. With tickets likely to fly off the shelves again, you’d do well to secure your spot early the moment they go on sale.

Aeroplanes And Ambition

You might assume the highlight of BALLET SHOES is its dance sequences, or perhaps the adoption storyline that tugs at your heartstrings. But one fascinating sub-thread is the focus on Petrova’s fascination with aeroplanes—a dream that might appear less conventionally “feminine” for its 1930s setting. While Pauline and Posy find themselves immersed in the performing arts, Petrova fixates on flight manuals, engines, and the promise of open skies.

In many ways, Petrova’s arc serves as a quiet subversion of period expectations. Theatre-goers who pay close attention to the subtle design elements may notice how her costumes differ from the swirling, pastel-hued ensembles worn by her sisters, or the way the set occasionally reveals glimpses of blueprint drawings for mechanical contraptions. Kendall Feaver’s script highlights Petrova’s inner conflict—being drawn into a theatrical world that doesn’t quite fit her talents—while never belittling the importance of her unconventional aspirations.

It’s a lovely reminder that BALLET SHOES isn’t purely about dance. It’s about the courage to pursue a dream, no matter how improbable it may seem. Anyone feeling hemmed in by societal pressures could relate to Petrova’s plight, and the show’s creative team has taken great care to celebrate her mechanical passions with the same grandeur afforded to her sisters’ artistic gifts.

Future Hints From The National Theatre

Incoming director Indhu Rubasingham has teased that further announcements for the 2025/26 season will arrive shortly, prompting speculation about fresh musicals, possible revivals, and expansions of already successful runs. With the National’s reputation for boundary-pushing, large-scale productions—everything from War Horse to Follies—there’s no limit to how far they might go.

One tantalising rumour swirling among theatre insiders is the potential for complementary workshops aimed at young audiences, tying in thematically with BALLET SHOES. Imagine parent-and-child dance classes or behind-the-scenes sessions led by the illusions director, unveiling how magic moments are made. Though unconfirmed, such an initiative would align beautifully with the National’s ongoing efforts to broaden engagement, ensuring theatre remains accessible to all, not just the ticket-holding faithful.

My Predictions For This Festive Run

The National is known for refining its productions from one run to the next—tweaking staging, adjusting design elements, and sometimes adding new sequences based on audience feedback. I suspect we’ll see an even richer exploration of the sisters’ individual journeys, with deeper emphasis on the comedic potential of the family dynamic. Word is that the illusions might be amped up, too, capitalising on Chris Fisher’s flair for spectacle. If last year’s version had you gasping at some nifty stagecraft, you might find yourself downright breathless this time.

It wouldn’t surprise me if the creative team introduced a couple of fresh songs or reorchestrated passages to highlight emerging talent in the cast. After all, part of the National’s charm is its embrace of evolution and experimentation, even in returning shows. The result could be a production that remains faithful to the original source material while delighting audiences with added surprises.

The imminent return of BALLET SHOES isn’t merely a case of an old favourite trotting back onto the stage. It’s a chance for families, fans, and the theatre world at large to rally around a story that celebrates resilience, creativity, and sisterhood—a timeless trifecta. Whether you’re drawn by the promise of glittering dance numbers, enthralled by illusions, or simply eager for a heartwarming tale, you’ll find more than enough reason to secure a seat. And if you were lucky enough to catch last year’s run, consider this an invitation to witness how a show, like the three Fossil sisters themselves, can continue to grow and flourish under the spotlight.

So, as we brace for another joyous season at the Olivier, let’s remember that a truly great theatrical experience lingers long after the final bows. Like the treasured paperback from my childhood, this show invites us to dream a little bigger, reach a little higher, and cherish the improbable wonders that dance at the edge of our imaginations. Isn’t that, after all, the core reason we keep returning to the theatre’s welcoming embrace?