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Edward Scissorhands

Published Thursday 1 December 2005 at 16:15 by Katie Phillips

Matthew Bourne is fast becoming the Madonna of the contemporary dance world - the ‘queen of reinvention’. Hot on the success of his modern adaptations of Swan Lake, La Sylphide, Carmen, Cinderella and the Nutcracker, he has now turned his hand to recreating a version of the genre that most inspires him - film.

For someone who grew up with Tim Burton’s motion picture, watching it religiously as kids in the early nineties were wont to do, I must admit I was worried that the stage version would not live up to its predecessor. But of course, if anyone can do it, Bourne can.

With the original Hollywood team on board, including renowned composer Danny Elfman and original screenplay author Caroline Thompson, and with the blessing of Burton, five-time Olivier Award winner Bourne has finally realised his dream to make his own theatrical version of the film. And what a job he has done. It is the first time I have felt that dance theatre was on a par with cinema.

Telling the tale of a man-made boy whose maker died before finishing him, leaving him with scissors instead of hands, the plot creeps around dark suburban currents and a sad love story.

The production is spine-tingling from the onset. The larger than life characters - desperate housewives, gothic kids, trailer trash, jocks and cheerleaders - are all there, cavorting on Lez Brotherston’s gorgeous sugar candy coloured set, as is the excitement, humour and poignancy of the tale. They even manage to recreate the scene where Edward shears the front yard greenery into fun shapes and carves an ice sculpture, although I’m glad they didn’t have a go at the poodle.

Bourne’s choreographic style borders on mime, with physical gesture and character expressions telling the story, with a spin or a leap here and there. While some might complain that there is not enough dancing, at least no one can accuse Bourne of shoving in a dance routine just for the sake of it.

The tender duet between Sam Archer (Edward) and Kerry Biggin (Kim Boggs), flanked by dancing bush creations is just dazzling and the uplifting Christmas party scene is ablaze with colour and pzazz, with swirls of music and charming dancers.

Etta Murfitt shines as Peg Boggs and Michaela Miazza gives a memorable performance as Joyce Monroe, the saucy minx of the all-American community.

If you go and see one Christmas show this season, make this one it.

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