Matthew Bourne’s dance adaptation of Tim Burton’s film is a bittersweet story that works brilliantly in this format.
Matthew Bourne has a way of transforming well known stories that while retain a sense of faithfulness as to the original plot but with just an extra twist to give it something a little bit more out there – as seen with his productions of Sleeping Beauty and The Nutcracker for example.
With Edward Scissorhands (a story that seems really poignant and in tune in times when being different is still considered to be worthy of being celebrated and being vilified for), it seems to have kept the structure of the film – which works for the most part, but can mean there is a slight lack in freedom that is seen in other New Adventures productions.
This gothic, yet surprisingly tender story follows that of Edward, who is left with scissors for fingers when his creator dies before completing him. On his journey, you see him being accepted by the local community who are impressed with the way in which he styles bushes, hairstyles and dog coats. He rapidly grows in confidence, learning more about the world around him – but sadly learning about the cruel nature of the world as well.
This is a show that highlights a whole range of emotions both in playful (see the scene in which the community go about their daily lives – a long sequence but definitely a highlight) and poignant ways (the duet between Edward and Kim Boggs is really quite moving – bringing a tear to the eye), thanks to Matthew Bourne’s beautiful knowledge in how to bring emotion so vividly through dance. The story doesn’t perhaps come through as strongly as you would hope and takes time in development – but when it does it soars particularly in the second act when more drama comes into play.
The mood and bittersweet nature of the story is enhanced by Lez Brotherston’s fabulous set design that really encapsulates the world in which Tim Burton created originally for the film, while Howard Harrison’s moodily effective lighting brings to life the gothic side to the story. By combining Danny Elfman’s immediately recognisable score with new music and arrangements by Terry Davies it gives enough scope for fans of the film and newcomers to enjoy.
But of course the cast themselves are all a joy to watch in bringing the story to life and the wonderful contrast of characters really explode on to the stage. At the centre of it all, Stephen Murray as Edward delivers a really sympathetic and vulnerable performance that makes your heart break for the character as well as fill it with joy as you see the character blossoming. His movements are extraordinarily precise in conveying just how Edward is trying to adjust the world and not hurt anyone. But he is surrounded by an incredible cast. Luke Murphy as George Monroe is wonderfully comical in all the right places and nearly threatens to steal the scene at times, while Ashley Shaw is wonderfully delicate as Kim Boggs – her dancing is exquisite to watch. But the whole ensemble really relish each character they play, with the side stories emerging extremely vividly.
Overall, it is a delight of a show to watch, which could just bring the story out a bit more to make it shine even more. But this is a heartfelt and mesmerising take on the story.
By Emma Clarendon
Edward Scissorhands continues to play at the New Victoria Theatre until the 17th February before continuing to tour.
Rating: ⭐⭐⭐⭐