The Shadows: The Red Shoes Ballet Review

Company Artist Meggie Peterson as Karen's Shadow-Self in "The Red Shoes." Photo from New England Ballet Theatre

Hope is a waking dream, but every light casts a shadow. The New England ballet Theatre’s production of The Red Shoes at the Aetna Theatre at the Wadsworth Atheneum Museum of Art narrates a tale of ambition and obsession, as a ballerina grapples with the shadows that follow her relentless pursuit to replace the fallen Étoile, all while being consumed by her irresistible craving for a sinister pair of blood-red ballet shoes. Gnatowski's vision astoundingly captures the tragic essence of desire and sacrifice, making The Red Shoes a remarkable success that delves into the depths of the human psyche and artistic devotion.

The Red Shoes commences with a mesmerizing opening scene where the shoemaker,  masterfully played by Asher Taylor-Dawson jaunts back and forth across the stage, weaving through the stage, surrounded by a tableau of poised ballerinas. In this rendition of the story, we’re introduced to Karen, a young dancer, portrayed by the talented Fiona Connolly, who sees an opportunity to step up when the Étoile, played by Rachel Smith, faces an injury. Karen is enticed by the shoemaker’s red shoes and the allure of the magic that is said to bestow her with extraordinary abilities. William, her devoted fiancé, played with genuine support by resident guest artist, Cody Bakhshi, becomes a pillar in this narrative as he encourages Karen’s ambition affirming her own talent. Still, Karen grapples with what could be and is unable to resist the temptation of the shoes, setting the stage for a captivating exploration of desire and the balance between aspirations and the sacrifices they require.

The shoemaker is menacing with his face painted to convey not only the laborious nature of his craft but also a subtle hint of something sinister lurking beneath. Stephanie Kellogg, who embodies the role of the director, exudes an air of unwavering poise, reminiscent of The Devil Wears Prada’s Miranda Priestly. Her disapproving gaze sends shivers down the spines of her dancers, adding a palpable tension to the performance. Tamar Cohen's interpretation of the pianist is a masterclass in subtlety, portraying a slightly skittish young woman who visibly crumbles under the director's scrutiny. Bakhshi serves as a crucial scaffold for Connolly, skillfully securing her movements while never stealing the spotlight from Connolly’s delicate artistry. Connolly is a vision as she guides us through the intricacies of Karen's journey with a profound subtlety, using body language and facial expressions to paint a vivid picture of her character's inner turmoil.

The étoile and corps de ballet, expertly led by Rachel Gnatowski's choreography, form a graceful ensemble of dancers who flawlessly execute synchronized dance numbers. The contrast between the pas de deux shared by Karen and William, celebrating their engagement, and the mesmerizing dance between Karen and her shadow self, portrayed by Maggie Peterson, adds a captivating layer to this twisted tale.

The shadows, embodied by Luna Esmerode, Martina Panato, Anna Parks, and Ola Tarnowski, play a pivotal role in the story. In a jaw-dropping scene, they fully envelop Karen, seizing control of her movements and marking a turning point in her journey. The themes of success, sacrifice, and self-control are brilliantly brought to life in the fluid and hauntingly beautiful dance sequences.

The stage design, a simple white backdrop with a piano downstage right, is an effective canvas for the rehearsal scenes, allowing the dancers' movements to take center stage. However, the transitions to projections of a roughly sketched cityscape against the white backdrop for the out-on-the-town scenes left much to be desired. These projections did little to enhance the beauty and intrigue of the scenes they were meant to accentuate. Fiona Connolly, who also served as costume designer, made thoughtful choices by outfitting the dancers in classy 50s frocks during their night out on the town. This choice not only reflected the era but also facilitated seamless transitions from the elegance of their studio tutus to the extended glamour of their lives beyond dance.

The musical compositions by Brian Easdale and Franz Waxman are a driving force in the production. Their dynamic compositions oscillate between a bright hope and the menacing trepidations of the shoemaker and the shadows— which effectively underscores the dark undertones of the story. The lighting and sound design further accentuate the shifts in energy throughout the performance, enhancing the emotional resonance of the scenes.

The brilliant use of color deepens the nuances of the production. The stark contrast between the black tutus worn by the shadows, reminiscent of Black Swan, and the saintly white of Karen's dress, adds a layer of symbolism and depth to the characters. The crimson pointe shoes, central to the story, introduce a bold splash of color that not only draws the eye but also serves as a symbolic focal point in the narrative.

In this gripping ballet, the power of storytelling without words reigns supreme. The nuances of the narrative are conveyed with breathtaking clarity, from Karen's triumphant moments to the Dorian Gray-esque dance where she confronts her shadow self, mirroring the eternal battle between light and darkness. What resonates profoundly is the age-old lesson that gaining the world at the expense of one's soul is a hollow victory. Moreover, the production drives home the universal truth that there's always someone willing to make any sacrifice for the fleeting chance to become the Étoile.

While this performance was a one-night-only event, I encourage you to visit www.neballettheatre.com for a glimpse into their upcoming productions.