Performance Run: Tuesday 10 - Saturday 14 February 2015

Performance Reviewed: Tuesday 10 February (Press Night)

It is evident from very early on in Matthew Bourne’s beguiling Edward Scissorhands that Tim Burton’s touching, slightly elegiac modern fairy tale take on the Frankenstein mythos is in very good hands (or blades). This production, a revival of Bourne’s original 2005 dance adaptation, ebbs with the same delicacy, sweetness and innate humanity that has leant the film it’s enduring appeal, whilst similarly nestling it within a rich, colourful tapestry of distinctly Burton-esque caricatures and 50’s Americana. As with many of Bourne’s New Adventures’ productions, dance is first and foremost the conduit of narrative - character and story accessibly told through a liberal helping of dance styles from jive through to more atypical balletic duets. Bourne is something of a poster boy for contemporary dance adaptations - taking the established and filtering them through his own creative spectrum, and it is with just cause that his works have proved as popular as they are pleasingly accessible to all.

Above all, it is a testimony though to how richly realised and defined the character work here is, the simplicity yet profundity of the tale being told and how expertly these are conveyed exclusively through dance that the complete absence of dialogue is so perfectly fitting. It may seem a rather base point for a dance production, but there is great poetry and nuance, not to mention some wonderful showmanship, in how confidently and articulately the film has been translated to the sphere of dance without any sacrifice to understanding or emotion. In fact, the very idea of introducing dialogue feels alien and blasphemous from merely a handful of scenes in. Those torn on whether or not an exclusively dance-driven production of the story is for them should put aside any doubts immediately.

In the place of Tim Burton and Caroline Thompson’s screenplay and dialogue, we have the rousing musical accompaniment that offers a hybrid of Danny Elfman’s original scoring for the movie, as well as original compositions by Terry Davis, which harmonise so well even Burton enthusiasts would be hard pressed to identify the audible seams. But for all the impact and work that the scoring does, top credit has to be lauded upon the incredible New Adventures company themselves, who do simply stellar character work throughout, marrying it with some vibrant choreography from Bourne, not only perfectly capturing the vim and whimsy of Burton, Depp and Co.’s original work, but further instilling it with a vibrancy and spark all of it’s own.

Dominic North dances a terrific Edward - the trajectory of his performance from the awkward, robotic, nigh animal-esque ‘newborn’ of the opening sequences through to his charismatic physical awakening beautifully chartered, and aided in no small way by North’s remarkable slew of facial expressions. He tiptoes between the tragic, sympathetic and comedic with masterful flair. Other highlights amongst the uniformly excellent cast include an entrancing, point-perfect Ashley Shaw who is grace, beauty and elegance as young Kim Boggs, Edward’s object of affection, and Madelaine Brennan who regularly draws the eye, not to mention plenty of giggles, with a commanding, sizzling performance as lustful housewife Joyce. Tom Clark gives great 1950’s jock, all testosterone-fuelled antagonism and swagger as Jim Upton, Kim’s possessive yet popular boyfriend, whilst the company’s associate artistic director, Etta Murfitt, meanwhile, radiates her experience on stage with an effervescent warmth and immense likability as both Edward’s adoptive mother, Peg, and the show’s narrator (of sorts) in the form of an older Kim. It’s almost unfair to single out any of the cast, however, as the justly-acclaimed company are, as mentioned, captivating to watch across-the-board. An earlier sequence which effectively paints an entire community on stage - from deliciously smug and superior mayoral candidates to terrifyingly rigid catholic devouts and lager-swigging layabouts - is so richly layered, keenly detailed and sumptuously performed, bursting with idiosyncrasy and telling little vignettes, that any and all plaudits above are due to the entire comapny.

Edward Scissorhands is another success story for Matthew Bourne and his ever-exciting dance troupe. Fans of the film will find this both spiritually and aesthetically a very worthy adaptation, with the added bonus of some moments from the movie which pass by in seconds here elaborated into full-scale dance numbers. Technically and artistically, there is very little to fault, from Lez Brotherson’s rich set and costume design with distinct period flavour to Howard Harrison’s melancholy, atmospheric lighting. It isn’t the lengthiest of shows, but this is hardly a critique when it’s 2-hour run time makes it a further recommendation for family and younger audiences. And whilst some may be scratching their heads with a degree of uncertainty as to what exactly transpired in the shows final moments come the final call, they will likely be quickly distracted by the rapturous applause and standing ovations of audiences who have firmly, and understandably, taken the show to their hearts.

Five stars… and I haven’t even mentioned the topiary. Forgive me, Edward.

 

RATING - ★★★★★

 

EDWARD SCISSORHANDS is running at the Birmingham Hippodrome from Tuesday 10 to Saturday 14 February 2015.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!
Alternatively, call Ticket Sales directly on 0844 338 5000 now to book your tickets!


For more news, updates and exclusive content, be sure to follow Kyle on Twitter!

Press tickets for this performance of Jack and the Beanstalk were provided courtesy of the Birmingham Hippodrome directly. The author gratefully acknowledges their generous invitation.