Review: EDWARD SCISSORHANDS, Sadler's Wells

No Sugarplum Fairy at Sadler’s Wells this Christmas…they've got Edward Scissorhands instead! Specifically Matthew Bourne’s New Adventures production running until 20 January.

A Bourne production is probably a sure-fire hit anytime of the year, let alone during the festive period, and this 2005 work offers what one usually finds: buckets of atmosphere and undeniably vivid sets and costumes thanks to Bourne’s long-time, successful collaboration with Lez Brotherston. Brotherston is in full throttle Gothic Americana manner with his usual, depth of perspective sets adding to the narrative layers.

Here we find Bourne doing his usual shtick: storytelling, and this time off the back of the fantastical, hyperrealism mind of the filmmaker, Tim Burton. Match made in heaven? Yes and no.

The story of Edward Scissorhands isn't a surprising one: an outsider is accepted only to be ultimately rejected, yet it still feels like a poignantly prevalent one to be shared.

The last ten minutes are the best for me, with Bourne communicating true emotional resonance through dance for Edward and his love interest Kim, of the Boggs family. A kind, generic American, suburban family who take pity on the outcast, and make him feel like he belongs, even if only for a short while.

So what about the rest of the two hour show? Well, Bourne offers linear narrative for the most part, introduces some strong characters and includes numerous group numbers that keep the observer occupied. Yet somehow, it's only the last section that manages to convey a connection between the movement, execution of it, and the intention behind it.

The opening segment has a lot to convey in a short space of time, consequently the handful of vignettes don't communicate narrative threading in an obvious way, rather more of a ‘this happened and then that happened’ and ‘are you keeping up?’ vibe.

The haunting musical theme by Danny Elfman that one recognises from the 1990 Burton film soundtrack hasn't lost any of its evocative power, and the new music and arrangements by Terry Davies are consummate, though some of the busy group numbers feel a smidge arduous both musically and choreographically, and also don't seem to add anything substantial to the overall narrative journey. Additional context perhaps, but no real depth.

Elsewhere I struggled with some of Bourne’s character portrayals. I know that both he and Burton work in the extreme, so larger-than-life is the name of the game. But stereotyping isn't always helpful or actually funny. And some of the performances read more towards the vulgar than charismatic - especially where concerning facial expression delivery. I think some middle ground could be explored.

Liam Mower as Edward does a fine job. Yes he's made up like there's no tomorrow, but the eyes still communicate such endless longing throughout, and Katrina Lyndon as Kim has the face of a movie star and the drama-infused technique of a very accomplished dancer.

Did I enjoy myself? At times. Did I find my mind wandering? Absolutely. Do I rate Bourne as a storyteller? Undoubtedly. Does he always use dance to its maximum narrative capability? Not in this production.

Edward Scissorhands runs at Sadler’s Wells until 20 January.

Photo credit: Johan Persson

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