Matthew Bourne’s gothic fairy tale Edward Scissorhands ballet cuts a fine figure as it returns to select UK stages on its UK tour before spreading its wings and snip snippy hands to other lucky venues worldwide. We are especially fortunate to witness this perfectly actualised, constructed and danced production this week at Nottingham Theatre Royal. As a sublime dance essay in whimsy and a family friendly treatise on the accidental world of a lovable Frankenstein like outsider; a boy with scissors as hands which deny him a human sense of touch, Bourne’s production and his audiences are – excuse the pun – in very safe hands. Edward Scissorhands is moving, very funny in parts and pure theatrical magic.
Liam Mower as Edward is everything one would hope for in his portraying of such an iconic figure; sad, amusing, likable, gripping, graceful and athletic and he wields those scissors like one born to the role. Or is that Bourne? I digress. Edward Scissorhands has a large supporting cast of ever inventive extra-ordinary dancers all of whom truly inhabit their characters every millisecond they are on stage. And, as it is ballet, they convey every emotion and reaction perfectly without a word spoken. The ensemble characters may be 1960s small town US Hope Springs suburban architypes but they are instantly recognisable through their mannerisms and costumery and the aspects of movement and dance help us cement their exuberant characteristics in this stage population. As touring performers the New Adventures company have given them a variety of dance roles to play throughout the tour which means that their depictions will never get stale and our enjoyment of them will blossom.
In reviewing I can do no better than gratefully use a snippet from the programme in which ‘Scissorhands‘ author Caroline Thompson explains about Matthew Bourne’s strong involvement in the balletic creation of the show. “Matthew is Edward’s perfect conduit. His is a brilliant wit. He thrives on whimsy – one gets to laugh while watching a Matthew ballet. And not just a little, but to laugh a lot. (Imagine: laughing at the ballet!). He cherishes his audience, keeping in constant communication with us. We are never lost. We don’t look form a cold distance at poses or pretty constructions. We are always with the dancers, alert to their feelings, aware of what’s happening in the tale. Matthew loves narrative. Story drives his dances. At the same time, he can suddenly capture the deepest emotion with the tiniest gesture. He gets giddy messing with rhythm. He has fun. He also knows how to wound. And how.” Amen to all that.
Edward Scissorhands is devised, directed and choreographed by Matthew Bourne, new music and arrangements are by Terry Davies; the original screenplay, story and co-adaption is by the afore-mentioned Caroline Thompson. In terms of the wonderful and fantastical set design and costume design we have Lez Brotherston; the fabulous lighting design is created by Howard Harrison and the wonderful sound design is by Paul Groothuis and the projection design is the sterling work of Duncan McLean. The whole is a New Adventures production.
It would be far too easy to bang a fair few scenic spoilers into this review so I shall curtail my burgeoning enthusiasms but for us the Topiary Garden scene is superbly done and The Bogg’s Barbeque scenes are hilariously acted out and danced. That is just two of a terrific total of twenty. One thing for absolute sure is that you will be stunned by the beauty, the love and the fun of this gorgeous production currently playing at Nottingham Theatre Royal until Saturday 2nd March. So snip snip, chop chop, sharpen up and get booking. You’ll not regret it.
Photos credit: Johan Persson
