A visual feast of a ballet – an entertaining interpretation of the classic film.
Matthew Bourne’s ballets are never dull, and this production of Edward Scissorhands is no exception. Devised, directed and choreographed by Matthew Bourne, and presented by New Adventures, Martin McCallum and Marc Platt, this show is an entertaining and beautiful interpretation of Tim Burton’s classic 1990 film. Featuring elements of Danny Elfman’s familiar film score, plus music from Terry Davis, the sights and sounds of this performance provide entertainment for all.
For those unfamiliar with the story – Edward Scissorhands is a modern fairy tale of a boy resurrected by the Inventor in a mansion high above a small suburban town. When the Inventor dies, Edward (left unfinished, with scissors for hands), is taken in by the Boggs family, where he finds his way in the town, and an unlikely romantic attachment to the daughter Kim (Holly Saw), along with small-town family politics and rebellious teens, whilst nurturing his talent for hairdressing and topiary. In tonight’s performance, Edward was performed by Liam Mower, in a glorious performance, perfectly balancing the naivety of the character, tender feelings, and comic effect. His delightful ‘drunk’ dancing, and skillfully navigating lifts and other choreography with his scissor hands were obviously well honed.
As for the rest of the cast, they were superb in their roles – special mention to Nicole Kabera as the salacious Joyce Monroe, and Luke Murphy as her husband George, who both clearly delighted in the comic relief elements of their parts. Holly Saw as Kim Boggs was the epitome of sweetness and grace, and her boyfriend Jim Upton (played by Ben Brown) was the perfect foil. Some excellent rollerblading from Ben too, in place of ice skates – a very nice touch.
The choreography in the whole cast numbers strayed a bit too close to “Strictly” territory for my liking, as a very camp and cheesy numbers but this did balance well with the more poignant moments between Edward and Kim. The pacing of the show felt slightly uneven at times, perhaps a natural reflection of the film – I felt there was rather more exposition in Act 1 than was needed, but nonetheless enjoyable.
Lez Brotherston’s sumptuous staging and set design throughout were extraordinary – the initial reveal of the Inventor’s mansion in particular drew an intake of breath – perfectly lit with moonlight streaming through the window. The various Hope Springs interior and exterior sets were also beautifully staged – the elaborateness of them did mean a fair few ‘interlude’ scenes from the cast to distract the audience, whilst they were changed, but this did not detract from the stunning visual experience.
The wigs and costuming were phenomenal – evident in all scenes, but perhaps most striking in the Topiary Garden scene at the end of Act 1. The elegant way in which the cast deftly changed wigs (as seen in “Edwardo The Barber” in Act 2) is to be applauded also.
After reaching the dramatic climax, a well-deserved standing ovation for Liam Mower drew the evening to a close, with a generous, unexpected, but delightful snowfall through the theatre – a fitting end to the spectacular.
Edward Scissorhands is at Edinburgh’s Festival Theatre from 14-18th May, and at Glasgow’s Theatre Royal from 21st – 25th May.
It’s worth highlighting the highly informative accessible visual guide for the ballet also features on the New Adventures website, for those who might appreciate an overview of this nature.