Clara Wodny
For long-time ballet lovers and dance newbies alike, ‘Edward Scissorhands’ is a lively, captivating and colorful production that will have you smiling, gasping, laughing, and crying alongside the performers. Clara Wodny reviews.
If you love dance and captivating storytelling, but find traditional ballet too intimidating or hard to follow, then be sure to check out ‘Edward Scissorhands’, now playing at Nottingham’s Theatre Royal.
First premiering in 2005 and touring the UK for the first time in 9 years, Matthew Bourne’s ‘Edward Scissorhands’ is a thrilling, energetic dance production based on the classic Tim Burton movie. Performed by the New Adventures dance company, the production features new music and arrangements by Terry Davies based on the film’s original score, with set and costume design by Lez Brotherston, sound design by Paul Groothuis, and lighting design by Howard Harrison.
Edward is left all alone on the mountain, unfinished, with scissors in place of hands
Whether or not you are previously familiar with the storyline, this production is clear and easy to follow. The first character to appear is an elderly Kim Boggs (Sophia Hurdley), who stands at the front of the stage creating a fairytale-esque setting and introducing the tale. The screen behind her turns transparent, and we see a young Edward (Jamie Duncan-Campbell) being struck by lightning whilst holding a pair of scissors. Devastated, his father shuts himself into his mansion, and devotes himself to bringing Edward back to life. Tragically passing away shortly before his project is complete, Edward is left all alone on the mountain, unfinished, with scissors in place of hands.
Eventually leaving the mansion, Edward finds himself ogled and feared by townspeople until he is taken in by suburban housewife, Peg Boggs (Sophia Hurdley). We see Edward and the town through each of the seasons and Edward never quite fits in, but the townspeople learn to include him all the same. At one point there is a barbecue thrown in his honor, another scene depicts the opening of his salon where he puts his scissorhands to use creating wonky hairstyles. He trims the neighborhood’s hedges into exotic creatures, and attends the Christmas dance.
a myriad of different families and personalities, full of classic archetypes and eccentricities
Admittedly, the first few sequences are quite slow and boring visually, as the performers carefully set up the story. Occasionally, it feels a bit over-performed in the sense that the choreography’s goal is to make the plot blatantly obvious, rather than to create visual appeal. It isn’t until the first sequence that features the full ensemble of townsfolk that things really start to pick up. With a myriad of different families and personalities, full of classic archetypes and eccentricities, you feel as though you don’t know where to look because there is so much happening at once.
Liam Mower excels in the starring role, but this is a true ensemble production. There is much enjoyment – and a surprising amount of humor – in the all the side stories and interactions played by the various townspeople, including the Mayor and his family, the joyless Reverend, the neighborhood siren and her clueless, comical husband, and the young gay couple with their baby (a new addition to this version). The full-ensemble scenes are also where Lez Brotherston’s costume design shines, creating a bright, enticing display from head to toe.
she takes over the spotlight as we watch her realize her love for Edward
Ashley Shaw delivers an absolutely enchanting performance as young Kim Boggs, the town belle and cheerleader girlfriend of Jim Upton, the mayor’s son (Ben Brown). Shaw perfectly encapsulates Kim’s sweet, innocent nature and she takes over the spotlight as we watch her realize her love for Edward, while having to ward off a jealous and prideful Jim. Mower and Shaw’s two pas-de-deux are undoubtedly the highlights of the performance, conveying budding romance, hope, uncertainty through what harkens to be the most enticing choreography of the show.
Production-wise, Harrison’s lighting design is stunning. The set features full-stage screens which sometimes remain down during the performance, switching between being transparent and opaque with various images and backgrounds. The most enchanting scenes occur when the front screen is down and mostly transparent, and moving images such as snow are projected onto the screen in a way that feels 3D and fully immersive.
full of feel-good moments, engrossing dance sequences, and undeniable humor
‘Edward Scissorhands’ is a compelling and timely story of uniqueness and identity, with an added sprinkle of romance and some good ‘ole neighborhood gossip and scandal thrown in. While the storylines might not go as deep or be as moving as the original film, this production is full of feel-good moments, engrossing dance sequences, and undeniable humor.
A great opportunity to lose yourself in bright visuals and an impressive display of artistry, the production is playing at Theatre Royal through 2 March, before continuing on to Bristol.
Clara Wodny
Featured image courtesy of Alex Watkin. Permission to use granted to Impact. No changes were made to this image.
In-article images courtesy of @royalnottingham . No changes were made to this image.
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