The original tale would be challenging for anyone to frame within contemporary values, since the story closes with the central character, Karen, an orphan from an impoverished background, confessing to the sin of vanity and committing herself to a life of servitude to receive God’s mercy.

Harris turns this round by centring on the theme of passion. In her characterisation of Karen, played by ballerina Nikki Cheun, dance is a release from the pressure she feels to be liked by her adoptive parents. It allows her to be free. When she dances she no longer cares what people think. But passion has a price and there is no escaping this.

Harris also takes a swipe at middle-class values and vanities through the characters of Mr & Mrs Nugent, Karen’s adoptive parents. Fixated with status and money, and focussed on impressing the Save the Orphan Foundation, they are oblivious to all else, including the psychotic tendencies of their son.

There is much macabre humour to be made from this, and the production’s sumptuous staging and props supports the humour to the full. A dinner party in the Nugent’s home, richly dressed table with candelabras and all, allows Mrs Nugent to boast and preen. But, as Karen is forced to dance by the red shoes, using the table as her dance floor, the façade comes crashing down. In another well-crafted scene, Mrs Nugent’s expansive dressing room becomes a space in which each of the family members expose their secret desire to dance passionately, before quickly resuming their normal behaviour.

Fairy-tale elements are captured through the character of the shoemaker, his two-faced nature subtly played by Sebastien Torkia. On first appearance, his motives seem kindly as he offers Karen the beautiful red shoes. But his scheming becomes clear as the shoes take their hold over her. Mags, played by Sakuntala Ramanee, also contributes to the fairy-tale feel. As Karen’s only friend, Mags is able to see where her passion lies.

However, the Nugents are at the centre of most of the action, and their presence tends to dominate the piece. Mrs Nugent, played by Dianne Pilkington, is flamboyant and hysterical, and comes close to taking the production into the realm of pantomime. Her Scouse accent, which comes and goes, seems a little out of context here. Bob Nugent, played by James Doherty, gives a more nuanced performance, displaying total self-interest as he works his magic of turning a community complete with library and park into an apartment block.

Costuming, though often black, is richly textured, from the French netting on hats to the shimmer of the costumes of party-goers. In contrast, Karen’s costumes, which range from a dishevelled black tutu to a simple white gown, are trimmed with red for passion, whilst Mrs Nugent wears a sickly shade of green, a sign of her envious nature.

Nikki Cheung is not only a beautiful dancer but captures Karen’s innocence well. Her on-pointe finale feels like the moment we have been waiting for. Sebastien Torkia, full of charm one moment and of devious impulses the next, gives the piece the edge it needs. James Doherty as Bob Nugent, gives a subtle portrayal of a man self-absorbed. Mags, played by Sakuntala Ramanee, reminds us that all fairy-tales have a streak of goodness in them.

There’s a lot going on this production and, if it sometimes veers off course stylistically, it wins through by the performances of its key characters, by stunning staging, and from its honest treatment of its themes. If at times it’s an unsettling watch, it’s worth remembering that passion does have a price.

The Red Shoes was directed and choreographed by Kimberley Rampersad, set and costumes were designed by Colin Richmond and the music was composed by Marc Teitler. It’s on at Stratford until 19th January. For further information rsc.org.uk