Student & Teacher Resource Pack
Student & Teacher Resource Pack
Contents1 Outline of Resource Pack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.032 An Introduction to Matthew Bourne’s Production of The Red Shoes . . . . . . . . . . . . . . . . . .p.043 The Plot of Matthew Bourne’s Production of The Red Shoes. . . . . . . . . . . . . . . . . . . . . . . .p.054 The Plot of The Red Shoes film and its Differences with Matthew Bourne’s Production. . . .p.075 The Themes of Matthew Bourne’s Production of The Red Shoes. . . . . . . . . . . . . . . . . . . . .p.096 Character Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.127 Production Elements Set Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.16Costume Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.19Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.22Aural Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.248 Matthew Bourne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.289 The Creative Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.3010 Worksheet – Devising. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.3511 Essay Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.4112 Reflecting and Reviewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.4213 Resources and Further Reading. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p.44The Red Shoes Student & Teacher Resource Pack2
1 Outline of Resource PackThis education resource pack aims to provide aninsight into the creative, choreographic and designelements within Matthew Bourne’s production,The Red Shoes, based on the award-winningPowell and Pressburger film, with music byBernard Herrmann.This pack is a structured guide for teachersand students that examines and documents thecreative process behind The Red Shoes. The packis predominantly aimed at students in KS4 andKS5 contributing to their GCSE, A-level or BTECstudies in dance. That said, elements of this packwill be of use to anyone wanting to broaden theirunderstanding or appreciation of dance and theNew Adventures company. Matthew Bourne and hisworks have been studied at secondary school levelfor many years.The pack provides contextual and factualinformation about Matthew Bourne’s productionof The Red Shoes and its contributors. It aims toencourage students to evaluate and gain a deeperunderstanding of a professional dance work.Throughout the pack are tasks and activities thathave been developed to engage students withthe creative process, choreographic process andproduction design, whilst creating opportunity foranalysis and critical appreciation. Some tasks alsooffer practical dance ideas to be applied in thestudio, and, for teachers, there will also be examtips, worksheets, lesson plans, suggested essayquestions, pedagogy and practice tips.The Red Shoes Student & Teacher Resource PackThis resource pack explores the themes andnarrative found in The Red Shoes. Insights havecome from Matthew Bourne himself, from interviewsor articles, through discussions with his creativeteam, and also from an audience perspective.For convenience, the following symbols will beused to indicate whether the suggested task hasa practical, written, verbal or research basedoutcome. Teachers may wish to combine activitiesthroughout their lesson, in which case the outcomesmay overlap.ACTIVITY:DiscussionACTIVITY:Further ReadingACTIVITY:Practical ExerciseACTIVITY:Written Work3
2 An Introduction to Matthew Bourne’sProduction of The Red ShoesBourne watched Powell and Pressburger’s iconic film The RedShoes as a teenager and, at this point, had never seen a balletlive on stage. As a young adult with a love for performanceand theatre, The Red Shoes provided a glimpse into an elitist,glamorous and intriguing world that was unknown to Bourne.The film’s classic love story is set within the working lives of aworld-renowned touring ballet company, the Ballet Lermontov.Bourne identifies parallels between Ballet Lermontov and hisown company, New Adventures, despite not being a balletcompany themselves. Bourne’s ability to identify with the BalletLermontov helped create his vision for reinventing the film’swell-loved characters for his own company. Bourne explains,“The film’s genius is to make that theatrical world at timessurreal, larger than life and highly cinematic. My challenge wasto capture some of that surreal, sensuous quality within themore natural theatre setting”.A common feature between Ballet Lermontov and NewAdventures is that they both share a love of touring, bothdomestically and internationally, under the creative vision oftheir respective artistic directors. The film’s characters aredepicted very much as individual dancers within the company,yet are bound by a familial sense of collaboration, loyalty andambition towards success. When embodying these personason stage, Bourne believes the New Adventures cast canempathise with the personal struggles behind each character.Whilst character research plays a large role in the creativeprocess, each dancer experiences or understands the sacrificesand dilemmas behind the desire to be a professional dancer,performer or artist.// The Red Shoes original movie posterInspired by the fairy tale by Hans Christian Andersen and theoriginal film directed and produced by Powell and Pressburger,The Red Shoes is Matthew Bourne’s love letter to the worldof theatre.// The Red Shoes original movie poster (Denmark)The Red Shoes Student & Teacher Resource Pack4
3 The Plot of Matthew Bourne’sProduction of The Red ShoesACT ONELondonAfter watching The Ballet Lermontov perform theCountess Tamara’s Dilemma, Lady Neston arrangesa soirée with the intention of showcasing her niece,Vicky Page, to Boris Lermontov. Despite delightingthe crowd with her solo, Lermontov, ignoring Vicky,offers a job to the pianist Julian Craster. Later,Vicky attends an audition with the company’s balletmaster, Grischa Ljubov, and is eventually picked byLermontov to join the company as a member of thecorps-de-ballet.dancing the principal role, and catches the attentionof Lermontov. Irina Boronskaja, the company’sprima-ballerina, cries out with pain as she fallsto the floor injured and is carried off, unable tocontinue the rehearsal.Monte CarloLermontov and his ballet company arrive on tourin Monte Carlo where the impresario and hiscreative team begin brainstorming ideas for thenext production. Vicky is summoned to Lermontov’smansion and, on arrival, is handed a pair of redpointe shoes and consequently, the lead role inBallet Lermontov’s newest creation, The Red Shoes.Vicky and Lermontov dance a duet, with the lattermanipulating and moulding Vicky into his museand the star she wants to become, ending withLermontov literally placing Vicky into the spotlight.The Red Shoes Ballet(within the production)// Lady Neston’s after-show soiréeWhilst working alone in the theatre, Julian is sweptup in a dream of one day conducting his own workwith a full orchestra. Lermontov watches on fromthe side-lines and recognizes Julian’s passion, talentand potential.A month later, during a rehearsal of Les Sylphides,as the Artistic Team and Principal Dancers bicker,Vicky slips into a day dream, imagining herselfThe Red Shoes Student & Teacher Resource PackThe Girl (Vicky) and The Boy (Ivan), her freespirited fiancé, travel from the suburbs to thecity. Suddenly, a sinister Pimp (Grischa) appears.Intrigued by her beauty, he lures The Girl awaywith the promise of fame and fortune, enticingher with a pair of red shoes. The Pimp seeminglyhypnotises the girl until the power of the red shoesoverwhelms her. The shoes take over, dragging heraround independently and forcing her to dance andnever stop moving. As she dances, she journeys to avibrant, busy Dance Hall, through a wild forest andeventually gets lost in a storm.5
Time passes and exhausted, The Girl slips into adreamlike, euphoric state and drifts through thestars. She arrives at her own funeral, as a processionmourns her passing, and sees The Boy who hasbecome a priest. He “senses” her presence aroundhim as she desperately reaches for him and tries toreconnect. Eventually, The Boy releases her fromthe shoes and she collapses and dies.// The Boy (Liam Mower) and The Girl (Vicky Page) in The Red Shoes BalletThe ballet is received with rapturous applause.Backstage, after the curtain calls, Vicky and Juliancongratulate each other, resulting in a passionateembrace. This is noticed by Lermontov, who stormsoff in a rage to the thunderous and ominous soundof the clapping audience.INTERVALACT TWO – Three Months LaterJulian and Vicky begin a passionate love affair, withLermontov forever watching them from the wings.Riddled with jealousy, Lermontov finds fault ineverything Julian does, pushing the conductor tobreaking point and forcing Julian and Vicky to walkout and resign from the company.The Red Shoes Student & Teacher Resource PackA Music Hall, London’s East EndSix months later, we find Vicky working in a musichall, dancing in a Polish Acrobatic Adagio Act.Also performing are two showgirls and an Egyptiancomedic double act, based on Wilson & Keppel,who are leering at Vicky in her skimpy costume.Distressed and humiliated, Vicky runs off stage.Back in a small London apartment, Julian andVicky, both artistically unsatisfied, argue; pulledbetween their love for each other and their passionfor their art. After, with Julian asleep in bed, Vickydecides to return to the Ballet Lermontov and leaveswith her ballet shoes and suitcase in hand.As she revives her role in The Red Shoes Ballet, sheis haunted by the faces of Julian, Lermontov andThe Pimp and finds it hard to distinguish betweenreality and fiction. Fact and fiction, ballet and reallife, all begin to blur and eventually Vicky findsherself alone on an empty stage. We hear the soundof the audience chanting for her behind the curtainswhich builds and morphs to resemble the sound ofan approaching train. As the noise gets louder andlouder Vicky slowly advances towards the curtains(and her audience). The curtains part and we seethe blinding lights of the steam train chargingtoward Vicky, resulting in catastrophe.The body of Vicky is eventually surrounded byonlookers and Julian arrives from London, suitcasein hand, just in time to see Vicky take her finalbreath. Julian removes her red shoes and Vicky diesin his arms, mirroring the final scene of The RedShoes Ballet. Lermontov picks up the pair of shoes,walks towards the audience and holds them up,once more in their spotlight.6
4 The Plot of The Red Shoes film and itsDifferences with Matthew Bourne’s ProductionIn the first scene of the film we are at a performanceby the Ballet Lermontov in Covent Garden. Threemusic Conservatoire students, Julian Craster (playedby Marius Goring), Terry and Ike are in attendanceto hear the ballet score Heart of Fire, composedby their teacher, Professor Palmer. Also presentis Victoria ‘Vicky’ Page (Moira Shearer), a young,unknown dancer from an aristocratic background,with her aunt, Lady Neston. Julian recognisesthe music from Heart of Fire as one of his owncompositions, and Ike notices another passage asanother of Julian’s works. During the performance,Boris Lermontov (Anton Walbrook), the companyimpresario, receives an invitation to an after-balletparty at Lady Neston’s residence. Lermontov initiallydeclines, but Professor Palmer persuades Lermontovto attend, exclaiming that “she’s a great patron ofthe arts”. Julian leaves the performance mortified athis professor’s plagiarism of his music, followed byTerry and Ike.// Moira Shearer as Vicky Page in the original 1948 film The Red ShoesMatthew Bourne’s production of The Red Shoes isheavily based on the award-winning film, however,there are some differences evident in the NewAdventures production, which Bourne has made forartistic and narrative reasons.The Red Shoes Student & Teacher Resource PackLady Neston has organised the after-party asan undercover audition to introduce Vicky toLermontov, who then invites her to join thecompany. Contrastingly, in Bourne’s adaptation,Vicky is invited to audition following the after-partyalongside the quirky Joyce. Both are put throughtheir technical paces by Ballet Master Grischa, andVicky gets chosen to join the company over Joyce.7
Meanwhile, Julian has written to Lermontov toexplain that he in fact composed Heart of Fire,but then tries to retrieve the letter. Lermontov’sassistant Dimitri stops Julian gaining entry toLermontov’s suite. Julian requests to take back hisletter before Lermontov sees it, however, Lermontovhas already read it. Lermontov asks Julian to playone of his own works at the piano. After hearingJulian play, he hires Julian as a repetiteur for thecompany orchestra and assistant to the company’sconductor, Livingstone Montague. Lermontovrealises that Julian was the true composer of Heartof Fire. Julian and Vicky arrive for work at the BalletLermontov on the same day.In the New Adventures production, whilst workingalone in the theatre, Julian is swept up in a dreamof one day conducting his own work with a fullorchestra. Lermontov watches on from the sidelines and recognises Julian’s passion, talent andpotential, resulting in Lermontov asking Julian tocompose his brand new ballet The Red Shoes.Irina Boronskaja (played by Ludmilla Tcherina),Prima Ballerina in The Ballet Lermontov has adifferent storyline in the film to Bourne’s adaptation.In the film, Boronskaja leaves the company to marryand the entire cast flock around her in support,except for Lermontov who is outraged by herdecision and is furious at being abandoned by hisstar dancer. In Bourne’s version, Irina injures herselfwhen rehearsing Les Sylphides and is unable todance the lead role, paving the way for Vicky to takethe lead in The Red Shoes Ballet.The Red Shoes Student & Teacher Resource PackFollowing The Red Shoes Ballet, Vicky and Julianannounce their undeniable love for each otherand Lermontov, fuelled with jealousy, gives Vickyan ultimatum to choose between dancing andlove. Vicky and Julian are forced to resign fromcompany. In the film, Lermontov coaxes Vickyback to dancing with the Lermontov Ballet leadingto a distraught Julian making Vicky decide againbetween their love and dancing, resulting inVicky’s demise. In Bourne’s version Vicky becomesdisheartened and depressed with her life in Londonand becomes more and more distressed, leadingto an argument between Julian and Vicky, fuelledby their frustration and lack of artistic and creativefulfilment. This becomes the driving force for Vicky’sreturn to the company, in contrast to Lermontov’smanipulation of her, as seen in the film.ACTIVITY:DiscussionCompare the narrative of The Red Shoeswith Matthew Bourne’s Sleeping Beauty,Nutcracker!, Swan Lake or The Car Man.Are there similarities in the way thatBourne constructs his stories and whatare the differences? Compare and contrastBourne’s treatment of film and balletstimuli in his shows.8
5 The Themes of Matthew Bourne’sProduction of The Red ShoesThe Red Shoes is the love story of two young artists(one a dancer, one a composer) and the fightbetween that love and the lure of the highest artisticachievement as represented by Boris Lermontov.The production also explores the theatrical world ofa ballet company and the stories it tells that blendinto the real life tale of love, ambition and artisticand personal fulfilment, until the two are barelydistinguishable.Love vs. Artand dancing. Increasingly, through shows suchas The X Factor, Britain’s Got Talent and StrictlyCome Dancing, the audience watch and witness aperformer’s struggles or barriers along their quest forsuccess. Everyone is interested in what it takes tobecome a great performer or artist and the sacrificesthat are required, and it was this journey thatBourne was keen to capture on stage.Bourne explains that in the film, The Red Shoes,the fairy tales and the stories that the BalletLermontov tell merge with a real-life tale of love,ambition and personal fulfilment until the two arebarely distinguishable. An example within Bourne’sstage production can be found at the end of ActTwo, when Vicky returns to the ballet company.As she dances The Red Shoes Ballet, the fictionalcharacters morph into figures from her personal life,portraying how the boundaries of her art and realityblur together, and how the inner conflict of love vsart ultimately leads to her death.ACTIVITY:Discussion// Irina’s accident during rehearsalsOne of the main themes that Bourne was keen toexplore was the difference between love for an artform and love for a person. When we first meet VickyPage and Julian Craster, each is so ruled by theirindividual passion for dance or music, that theirrelationship is one of rivalry rather than of romance.Like many performers struggling to break intotheir profession, Craster and Page’s sole intentionwas to get a job doing what they love – composingThe Red Shoes Student & Teacher Resource PackDiscuss some current icons in the worldof theatre and film. Can you think of anyexamples where fame or love for theirart has interfered with aspects of theirpersonal life and why? Discuss how theseissues can relate with the characters inThe Red Shoes.9
Career vs. loveObsessionThe Red Shoes is the love story of two young artistsand their internal struggles between love and thelure of highest artistic achievement. This premiseis opposed by Lermontov, who believes one cannotbe a great artist if distracted by love. This theme isprominent in both the stage and film productions.Vicky enjoys fame and success as a single, soloistdancer, however, her choice to live a life out of thespotlight with the man she loves ultimately ruinsher career. On leaving the company, dancing in anEast End Music Hall is not enough for Vicky andshe chooses to leave Julian in order to reinstate hercareer and stardom.Obsession, arguably, is one of the attributes oftenassociated with the ballet world, when imagined bythe layman. It is universally accepted that to reachsuccess in the performing arts, particularly as aballet dancer, one must make many sacrifices andbe obsessed with their art. Matthew Bourne does notfocus his depiction of the ballet world on a companyfull of resentment, rivalry and jealousy. However, wedo see brief moments and references, particularly inrehearsal scenes within the ensemble.When creating his new production, one of Bourne’smost satisfying challenges has been portraying theintense triangular relationship between Lermontov,Vicky and Julian. “The more I’ve watched the film,the more I’ve realised how messy that relationshipis. Vicky and Julian fall in love while they’reworking together on The Red Shoes Ballet and,really, they’re only happy together inside t
The Red Shoes Student & Teacher Resource Pack 3 This education resource pack aims to provide an insight into the creative, choreographic and design elements within Matthew Bourne’s production, The Red Shoes, based on the award-winning Powell and Pressburger film, with music by Berna
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