'Ballet Shoes' review — this utterly delightful adaptation of Noel Streatfeild’s classic book is a must-see for all the family

Read our review of Ballet Shoes, directed by Katy Rudd, now in performances at the National Theatre to 21 February 2026.

There was much excitement when Indhu Rubasingham announced the return of 2024’s festive hit Ballet Shoes as part of her inaugural season. Last year’s delightful production was highly entertaining, but it feels like this revival feels has sprinkled an extra bit of magic onto the charming show.

Pauline, Petrova and Posy Fossil are reluctant sisters, adopted by eccentric adventurer and palaeontologist Great Uncle Matthew (Gum) during his worldwide travels. They are left to be brought up by his niece Sylvia and faithful housekeeper Nana, trying to find their own way in a challenging world.

Kendall Feaver’s adaptation is faithful to Noel Streatfeild’s beloved story from 1936, with some subtle updates. Streatfeild was ahead of her time and the tale has endured so long due to its universal themes of resilience, female self-determination, ambition and chosen family. No wonder the book has never been out of print.

Streatfeild herself called Ballet Shoes “a fairy story with its feet halfway on the ground” and it certainly eschews the sentimentality of some children’s stories. The sisters are loathe to become too close, choosing to focus on themselves before realising they need to work together for the family good. This makes for a very intriguing dynamic.

Nina Cassells is spiky and truculent as wannabe actress Pauline. Sienna Arif-Knights makes a very impressive stage debut as a chaotic and energetic Petrova, and Scarlett Monahan is blinded by ambition as aspiring dancer Posy.

They are perfectly supported by Sylvia, played by Anoushka Lucas with sensitivity and a real sense of just about holding things together. Lesley Nicol is an affable and forthright Nana, and Justin Salinger makes wonderful return to his many roles, including the mysterious ballet mistress Madame Fidolia and the anarchic Gum.

The ragtag group of lodgers sees Nadine Higgin also return in fabulous form to the role of glamourpuss dancer Theo. Raj Bajaj exudes awkward charm as mechanic Jai and Pandora Colin shows strength and stoicism as the ‘sapphic’ Dr Jakes.

The production looks wonderful. Frankie Bradshaw’s intricately detailed set gives us the shabby splendour of 999 Cromwell Road, stuffed floor-to-ceiling with skulls, curiosities and intriguing doorways. The set changes are seamless: aided by Ash J Woodward’s video projections and Paule Constable’s lighting, we are taken from a classroom to a sinking ship in an instant. The scene where Madame Fidolia remembers her eventful life is beautifully constructed with moving mirrors and atmospheric lighting.

Asaf Zohar’s jazz-infused big band compositions are a delight, exploited to great effect by Ellen Kane’s zippy choreography. The routine during Benny Goodman’s infectious “Sing, Sing, Sing” is simply irresistible. The production may be less jaw-dropping in visual effects than some of her previous work, but Katy Rudd’s direction is practically flawless, with a pace that never drops.

With limitless charm, wry humour and a sincere heart, this revival of Ballet Shoes is a must-see for all the family.

Ballet Shoes is at the National Theatre to 21 February 2026. Book Ballet Shoes tickets on LondonTheatre.co.uk

Photo credit: Ballet Shoes (Photos by Alastair Muir)