Matthew Bourne’s adaptation of the hit 1984 Tim Burton film (starring a very young Johnny Depp) returns to the stage for a new era on an 18 venue tour across the UK.
Matthew Bourne is a name that has come up most frequently during my time working at my local theatre, among patrons and fellow colleagues alike. Being familiar with a wide range of theatre productions, companies and directors, I will fully admit that I have never felt fully able to connect with dance. It is the reason for turning down reviewing work for ballet and dance shows in the past and even working at my local theatre, the struggle to sell dance productions became all too apparent. It seemed it was more niche than theatre! I have sat through several ballet and dance productions, and not quite been able to fully connect, while appreciating the talent and the spectacle of the dancers in front of me. The one exception, is ballet Cymru, who are a small dance company based in Wales, and make their performances accessible both in the way they are produced, mixing ballet with modern dance and in regards to the performers they work with, offering opportunities and roles to all abilities. I was never more fascinated than seeing a wheelchair user glide across the small stage at the Torch theatre, dancing with the rest of the cast.
Matthew Bourne does something similar, though on a much larger and more sophisticated scale. He makes ballet and dance accessible, he makes it fun and magical and exciting. The way he tells a story through music and movement and dance is extraordinary. He is one of the few directors and choreographers whose reputation precedes him. I knew, before sitting down to see Edward Scissorhands at the Birmingham Hippodrome, that it was most likely going to blow me away. It did more than that, it captivated me. I laughed, I cried, I was uplifted and engaged. Bourne recreates Burton’s weird and wonderful tale of difference, of the outsider – the boy with scissors for hands – and his journey from loneliness and fear to acceptance and love with great heart and soul and wit. The production is colourful and action packed, with striking costumes and props, beyond Edward’s iconic stitched suit and scissor hands, the 2 hours passing in what seemed like minutes. The audience were still, enthralled, the only noise the odd chuckle of laughter or throat being cleared during an emotional moment.
Matthew Bourne is something of a legend among dance choreographers and directors, starting dance training rather late in life (he was 22!). He went on to become creator of the world’s longest running ballet production, a record breaking nine time olivier award winner and the only British Director to have won the Tony Ward for the Best Choreographer and Best Director of a musical. Some of his award winning works include Nutcracker! and Swan Lake. With Edward Scissorhands, it was a long time in the making. The screenplay was written by Caroline Thompson 33 years ago before being brought to life on stage for the first time in 2005 with the support of Tim Burton and composer and musician, Danny Elfman. Bourne’s company New Adventures was formed in 1986 and Bourne notes that of the 36 dancers in Edward Scissorhands company, 16 have come through New Adventures Talent Development Programmes. While some previous stars of New Adventures return for the run in the Mum and Dad roles. New Adventures is the only company in the world to perform Edward Scissorhands as a theatrical spectacle.
Liam Mower is captivating as Edward. From his very first moments on being created in a Frankenstein style laboratory with gothic windows on the hill overlooking the town. His movements and facial expressions are beautifully drawn together as we watch him go from fear and confusion, to pain, to curiosity, to love, to acceptance. The audience follow Edward as he meets his new neighbours, who are at first afraid and unsure, aside from the Boggs family (or housewife Peg Boggs in particular) who take him in. We watch with joy as he is dressed in stripy pyjamas and attempts to ride a bike, to socialise with friends, even to show his real heart to Kim Boggs, the daughter of his adoptive family. The love story element is there, and presented just as gently as other themes, Edward and Kim being given duets which play out beautifully, particularly the scene with dancing topiary and an Edward with human hands. Before he later lifts her up gracefully, not harming her with the sharp implements that replace his hands. Yet Kim’s boyfriend’s jealousy foreshadows disaster, as he sets out to bring Edward down and turn the whole town against him.
The idea of celebrating difference and authenticity is the thread throughout the production, something which Bourne notes made it a perfect tale for the modern age. He notes he has introduced a same sex parent family into the story.
The supporting cast are great in their roles, bringing energy and heart to the stage, which reflects the colourful quirkiness of Burton’s story against the rather bleak and dark backdrop of Edward’s early life. There are nice little touches and references to Burton, including a group of youths dressed in Halloween style costumes referencing The Nightmare Before Christmas. The audience marvel at Edward perched high up on a step ladder cutting the hedges into animal shapes, topiary style. While the iconic ice sculpture scene is recreated with great beauty and imagination.
Danny Elfman’s music is recognisable, with added tracks by Terry Davies, to enhance the atmosphere of the production. The set design is quite striking and beautiful, moving between Edward’s dark, dysfunctional world to the bright and colourful streets of Hope Springs, complete with quaint stacked houses and picket fences aligned with identical mail boxes. There is a lot of humour in this production, something which is unique to Bourne as Caroline Thompson herself points out, ‘one gets to laugh while watching a Matthew ballet.’ She also talks of the cherishment of the audience, ‘keeping in constant communication with us. We are never lost.’
Watching a Matthew Bourne production does indeed feel like being part of something, we are involved, we are consulted, we are entertained and captivated. We feel part of the story, he moves us and he moves with us. This production is the perfect way in to Bourne’s art and is fun and lively, suitable for all. It is a piece of theatre that will stay with you and gives a wonderful transcendence to Tim Burton’s iconic visual creation.
A J Griffiths 