The 1952 film The Firebird, directed by Hasse Ekman, is largely an homage to The Red Shoes.
In the 1975 Broadway musical A Chorus Line and its 1985 film adaptation, several of the characters speak of The Red Shoes inspiring their decision to become dancers.
Kate Bush's 1993 song and album, The Red Shoes, was inspired by the film. The music was subsequently used in The Line, the Cross and the Curve (1993) a film referencing The Red Shoes written and directed by Bush. It stars Miranda Richardson and Lindsay Kemp.
The film was adapted by Jule Styne (music) and Marsha Norman (book and lyrics) into a Broadway musical, which was directed by Stanley Donen. The Red Shoes opened on 16 December 1993 at the Gershwin Theatre, with Steve Barton playing Boris Lermontov, Margaret Illmann playing Victoria Page, and Hugh Panaro playing Julian Craster. The choreography by Lar Lubovitch received the TDF's Astaire Award, but the musical closed after 51 previews and only five performances.
In 2005, Ballet Ireland produced Diaghilev and the Red Shoes, a tribute to Sergei Diaghilev, the ballet impresario who founded Ballets Russes. consisting of excerpts from works made famous by that seminal company. An excerpt from The Red Shoes ballet was included, since Diaghilev was one inspiration for the character of Lermontov.[69]
In 2013, Korean singer-songwriter IU released Modern Times, which featured the lead single "The Red Shoes", whose lyrics were inspired by the fairy tale, and whose music video was adapted from the film.
The film was adapted as a ballet choreographed by Matthew Bourne and premiered in December 2016 in London. The production used music adapted from film scores by Bernard Herrmann, including themes from The Ghost and Mrs. Muir (1947) and Vertigo (1958), in place of Brian Easdale's Oscar-winning score from the 1948 film.
In 2022, the award-winning short film Òran na h-Eala vividly explored Moira Shearer's heart and mind just before and after she agreed to star in The Red Shoes, a decision that would change her life forever. The film unfolds as a string of dreamlike sequences while Moira sits at a dressing room mirror, reflecting on her career choices. [70] [71]
