If you are looking for a magical, festive alternative to the ubiquitous Nutcracker, then go and see Sir Matthew Bourne’s adaptation of Tim Burton’s 1990 film, Edward Scissorhands. Created in 2005, it’s nine years since its last revival. Its poignancy lies in its tragicomic central character, who is desperate to fit in, but whose ‘otherness’ means his integration into a conservative society is vulnerable to the fickleness of human nature.
Set in small town America in the 1950s, in the fictional but aptly named Hope Springs, it tells the story of an eccentric inventor who creates a boy (think Frankenstein) but dies before he’s finished the job, leaving the lad with scissors for hands. Edward (Liam Mower) is taken in by the kindly Peg Boggs (a very touching performance by Kerry Biggin) and given instruction on how to negotiate life in the ‘real’ world.
The production reveals both the mundanities and idiosyncrasies of six different families, which this time around includes a gay couple with a young baby (Edwin Ray and James Lovell). It’s pretty much laugh out loud at every turn, but there is always an underlying melancholy to Edward’s plight. As the story unfolds, we see him innocently fall in love with Peg Boggs’ daughter Kim, beautifully danced and endearingly played by Katrina Lyndon.
Initially, she only has eyes for Mayor Franklyn Upton III’s son, James ‘Jim’ Upton – Ben Brown in supreme ‘Jack-the-Lad’ mode. In the duets Kim dances with both Jim and Edward, there is a clear distinction between the hands-on, touchy-feely raunchiness of Jim’s overbearing, macho attitude and the tender honesty, the awkwardness that Edward cannot avoid, given his predicament and his inability to actually touch her without inflicting wounds.
In a dream sequence, Edward is briefly relieved of his ‘dangerous’ dexterity. This particular duet, which looks so smooth and straightforward, serves to highlight just how clever the construction of the choreography is, when he is partnering with sharp fingers, and how deftly he avoids any serious injury.
The plot takes us through the seasons with a summer barbecue and a Christmas party during which time Edward goes from a mere curiosity to celebrity topiarist and hairdresser to dog groomer extraordinaire and ice sculptor. He attracts the attention of the town temptress, Joyce Monroe, portrayed with exactly the right balance between bawdiness and hilarity by Nicole Kabera. Luke Murphy almost steals the show in a tremendous star-turn as her oblivious husband, George Monroe, whether he’s blithely mowing the lawn or doing his morning exercises. What a natural comedian (and truly excellent dancer)!
Each scene is packed with hip-swinging, jiving and lively ensemble numbers, whether it's between the various families or when Edward's famous topiary comes to life. There is never a dull moment and there is so much detail in the narrative of the combined lives of all the characters, that this could be deemed a good excuse to revisit it at later performances.
When the tide turns against Edward, it is a big emotional jolt as by this time we are cheering the underdog and willing him to succeed in his endeavours to win the heart of his true love. Without expecting such a strong reaction, the closing moments, surprisingly prompt the welling up of tear ducts.
Bourne is a master storyteller (no need for programme notes) but he is also supported by a team of outstanding collaborators. Lez Brotherston's sets and costumes, as always, are a talking point and serve to enhance every aspect of the production. Danny Elfman's original film score has been skilfully adapted, with new music, by Terry Davies and as one would expect, carries the story effectively. Lighting (Howard Harrison) and sound (Paul Groothuis) are a joyful bonus.
New Adventures boasts many extraordinary artists and always has done. Dominic North (a very fine, former Edward) in the role of Bill Boggs, brings his own brand of conviction and humour. Long standing company members, Glenn Graham and Stephanie Billers as the Mayor and his wife, continue to show their versatility. There is new and exciting talent, Xavier Andriambolanoro Sofiya, to name but one.
However, the evening is Liam Mower's, in the title role. An award winning dancer, he's given many memorable interpretations. His Angel in Cinderella is unforgettable; his Prince in Swan Lake, heart-rending. As Edward he presents a blend of pathos, self-deprecating humour and a sense of trust and gullibility. He walks with the gait of a newly formed being, yet dances with all the grace required of him. He has an ability to convince us that everything is a first time experience, together with spontaneous reactions. A real triumph.
Bourne's Edward Scissorhands may not have quite the dramatic impact of his Romeo and Juliet or Swan Lake, but there is much to applaud and enjoy.
