Director and choreographer: Matthew Bourne
Composer: Danny Elfman
Original story: Tim Burton
Reviewer: Marina Spark
The familiar old tale from Tim Burton’s 1990 movie Edward Scissorhands is brought to life in Matthew Bourne’s newest production this autumn. The Theatre Royal Plymouth is teeming with excitement before the production begins and the audience are not disappointed by Bourne’s latest offering. The eternal outcast, Edward Scissorhands, finds himself alone in the world and is taken in by a loving, patient family; the Boggs. Love slowly blossoms between Edward and Kim Boggs before all coming to a head when Edward accidentally cuts Kim’s brother Kevin. The story is simple but very poignant and to many audience members extremely familiar after seeing the much loved movie. The tale is a timeless one and aside from being something to ponder upon it is hugely entertaining.
Matthew Bourne yet again secures his place as the reigning champion when it comes to creating modern, inspirational, successful dance adaptations of much loved classics. His choreography is utterly unique and entirely watchable. The 28 strong character list may prove to be a hurdle to overcome for many choreographers. Not for Bourne. The six different families within the show each have their own distinct, recognisable style, making it easy for the audience to distinguish between them. The playful, humorous notes from the original movie are effortlessly implemented into Bourne’s choreography throughout the show. This is an extremely funny production.
The strong cast are a joy to watch. Dominic North is a gentle, playful Edward Scissorhands. His attention to detail and entire execution of the character instantly makes the audience warm to him. His transformation from living doll to loving man is memorable and heartwarming. Two particularly comedic performances come from Daisy May Kemp and Jack Jones who play the Evercreech parents. A touching performance comes from Etta Murfitt, who plays Peg Boggs. Her subtle characterisation creates a true hero of the piece.
The set and costumes, designed by Lez Brotherston, are magnificent. The set truly transports the audience into Tim Burton’s Hope Springs. With a warped perspective and cartoon feel the set is as unique as the choreography. The costumes are as distinct as the characterisation undertaken by the performers and make this show a feast for the eyes.
The technical aspects of the show are of a similarly high standard, with one particular tech gadget making the audience feel very festive indeed.
This magical production is not to be missed.Obviously it will attract fans of dance and those that know Bourne’s previous work, but all should endeavour to catch it. It is rare that a production can be so accessible and inspiring all at once.
Runs until15th November 2014