Review: BALLET SHOES at National Theatre (Olivier)

Directed by Katy Rudd (who previously dazzled with The Ocean at the End of the Lane), the fossil loving collective of adventurers, nanny, lodgers and assorted family members by extension, plan for their futures, pursue their dreams and eventually realise that by working together they are all more likely to succeed.

The three Fossil girls have each been individually adopted by quirky palaeontologist GUM, aka Great Uncle Matthew (Justin Salinger), while embarked on his various fantastical adventures. As they grow up, they form the focus strands of the piece with Posy (Scarlett Monahan) wishing to pursue a career as a ballet dancer, Petrova (Sienna Arif-Knights) as an engineer/aviator and Pauline (Nina Cassells) longing to be a successful dramatic actress. Posy is influenced enormously by former ballerina Madame Fidolia one of several secondary roles also played by Salinger, who becomes the running gag of the piece, frequently popping-up in gender-defying garb as age-defying characters.

Anu Ogunmefun, Georges Hann, Gabriela Rodriguez, and Gracie Hodson-Prior in Ballet Shoes (2025) at the National Theatre. Photo by Alastair Muir

Keeping a steadying hand on the otherwise chaotic household tiller, are GUM’s niece Sylvia known to all as Garnie (Anoushka Lucas) and their ever-faithful housekeeper, Mrs Gutheridge, referred to affectionately by everyone as Nana (Lesley Nicol). Later, as finances are squeezed, two lodgers are introduced to the household, namely a doctor of literature Dr Jakes (Pandora Colin) and a handsome friendly mechanic, Jai Saran (Raj Bajaj), who catches Garnie’s eye and also encourages Petrova’s interest in engines and all things mechanical.

The production boasts an imaginative, whimsical and frenetic set by Frankie Bradshaw, upon which the remainder of the company shift scenery and props, including mirrors, a car and even deliver a montage of the Russian Revolution as they evoke new locations and events. The end result is a thoroughly engaging and delightful tale of three sisters learning to rise above their own limitations and battle those restrictions imposed on them by society. It serves as a clarion call to young women and girls everywhere and is one of the reasons the story has retained such a dedicated following ever since it was first published.

The production runs 2 hours and 35 minutes with an interval and continues at the Olivier stage until 21 Feb 2026.