Catching up after an absence:
Edward Scissorhands
Matthew Bourne’s Edward Scissorhands certainly looks sharp, but its steps and music need more edge, says David Dougill for The Sunday Times

Tim Burton’s film Edward Scissorhands, a gothic fairy tale set in middle America, with Johnny Depp as the wistfully engaging and affectingly pathetic boy, left unfinished by his inventor, with scissors for hands, was made in 1990. Since then, its authors have protected it from any other medium: otherwise, there would have been a musical.

But Matthew Bourne has been gestating a dance adaptation for years, and now we have it, for a long run at Sadler’s Wells (until February), with a tour to follow. The good news is that it looks gorgeous. The downside is that it drags. It cries out for songs. For all the energy, there isn’t sufficient dance interest to make it a ballet or sustain it as a “dancical”.

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Edward Scissorhands
By Debra Craine for The Times

MATTHEW BOURNE is arguably the most successful choreographer in Britain today. Any new show of his is going to be hot news, especially one based on a famous Hollywood movie.

No surprise, then, to see Tim Burton and a host of theatrical luminaries pitch up at Sadler’s Wells last night for the world premiere of Edward Scissorhands, the stage show.

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Edward Scissorhands
By Katie Phillips for The Stage

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.

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Bourne on Scissorhands:

"It can be the kid who's made fun of at school for any reason. It could be someone of disability, a racial thing, it could be a sexuality thing. I think everyone can relate to that and I think that's why he's such a universal ultimate outsider character," he added.

bbc.co.uk
http://www.bbc.co.uk/norfolk/content/ar ... ture.shtml

Edward Scissorhands is a tragic fairy tale with a human heart, the story of the unwitting outcast, “an uncommonly gentle man”, ripe for the big stage Bourne makeover. This is explicitly a stage adaptation of the film (it isn’t billed as a ballet) and despite a few slightly odd tweaks to the story, it is faithful to its origin, particularly with Lez Brotherston's stunning set and the magical movie musical score of Danny Elfman via Terry Davis which weaves the Burtonesque gauze around the production.

But despite the hype, Bourne doesn’t push the dimensions of the narrative to its gothic or magical extremes in his choreographic adaptation. New Adventures is company full of consummate character actors, and the inhabitants of Hope Springs are sharply and comically observed, but it’s a “Desperate Housewives” style suburbia of tame types, complete with an oversexed and underdressed Edie Britt, rather than the more sinister, ultra conservative, slightly loopy and closed off small town community of the film. In this version, the religious Evercreeches appear more freakish and marginalised than the graceful, benign Edward. In fact, there is very little sense of community reaction to the arrival of Edward and his monstrous deformity. They’re straight in there with a poolside barbecue welcome party, practically ignoring him as he hovers on their outskirts, bemusedly twiddling his blades, until they realize he can jazz up their hedges and hairstyles and then there’s plenty of visual fun to be had with his novel artistry.

The scissor hands, a genius of costuming, were underplayed, limited to performing cunning topiary rather than fundamentally choreographed in. They only truly came into play in the duet between Edward & Kim at the closing stages of the piece when we caught a glimpse of inspired originality, the scissors wrapping gently around Kim’s body, suddenly as sensitive and safe as loving fingers.

Bourne claims that you can do a close up on stage but in the second circle at Sadlers Wells you need opera glasses to get intimate with Edward’s fear, loneliness and longing. The enduring images of the film are those shots of Johnny Depp, gazing mournfully, looking so tragic, haunted and alone... the evidence of his ultimate humanity in the face of the freakish, shallow suburbanites around him. The choreography isn’t ingenious enough here to replace cinematography as the tool for conveying the emotional core of the story and at times Bourne opts for bolstering up the comedy elements rather than tackling the tragedy at the centre of this fable.

There are big dance numbers to console us; the outdoor party jigging and jiving, the romantic snowy ice duet, the clever dream-sequence topiary ballet and the festive, fizzing swing dance climax. But is Bourne unwittingly recycling shades of past productions? Ensemble character pieces are starting to feel formulaic. If it weren’t for the magnificent score and set and committed performances from the company I’d have felt rather cheated.

So hot on the heels of “Play without Words”, is this “Musical without Songs”? There were certainly clear nods to some musical greats including West Side Story & Grease for starters. I’m inclined to agree with David Dougill, a few songs would have helped chip the story along. But this is Bourne style dance theatre and all credit to the cast and crew for producing a show that hundreds of people have seen at Sadlers over Christmas and the New Year, the vast majority of which have been totally thrilled and thoroughly entertained and maybe, let’s hope, encouraged to see more dance in the future

Thanks a lot, Lindsey. I share your views about Matthew bourne's "Edward Scissorhands". Tim Burton's film is one of the delights of US cinema, featuring strong visuals, several performances to treasure and a message about [....].

The stage show is enjoyable but something of a disappointment with few of the elements matching the excellence of the film. The highlight for me was the playing of sam Archer in the title role. With a mix of vulnerability, eagerness to please and love for Kim, he made the role his own.

Press release

New Adventures, Martin McCallum and Marc Platt present
"Edward Scissorhands"
Devised, Directed and Choreographed by Matthew Bourne

Music Composed, Arranged and Adapted by Terry Davies
Based on the original Motion Picture Score by Danny Elfman

Based on the original Motion Picture by arrangement with 20th Century Fox

Original story and motion picture directed by Tim Burton

Original screenplay, story and co-adaptation by Caroline Thompson

Designed by Lez Brotherston

Lighting Designed by Howard Harrison

Sound Designed by Paul Groothuis


Tour commences following a record breaking run at London’s Sadler’s Wells.


£2.8 million gross Box Office takings
92,500 people saw the show
Highest grossing show ever at Sadler’s Wells
66% new attendees at Sadler’s Wells
1119 tickets for patrons with disabilities and their companions sold for £11,980 (full price value: £53,828)
1829 children’s 1/2 price matinee tickets
3205 schools tickets


Following an enormously successful 11 week run at Sadler’s Wells a fourteen week UK tour begins in Edinburgh this week. Further week-long runs will follow at Southampton, Salford, Norwich, Wimbledon, Cardiff, Birmingham, Woking, Nottingham, Glasgow, Newcastle, Wycombe, Bradford, Milton Keynes.

Public and critical acclaim for this latest production from Matthew Bourne has ensured that all Box Office records for a dance show have been broken at Sadler’s Wells over this Christmas. £2.8 million has been taken at the Box Office. A staggering 92,500 people have seen the show and with seats selling fast on tour, the productions looks set to recoup its costs easily before the end of the tour. Edward Scissorhands was also nominated for a South Bank Show Award for Dance.

An international tour that includes Tokyo, Seoul, New York, Washington DC, Los Angeles, San Francisco, Boston and Paris will ensure that Edward Scissorhands will rapidly become one of the most successful touring dance shows created in the UK.

Alistair Spalding, Artistic Director and Chief Executive of Sadler’s Wells: "I'm delighted that our ongoing relationship with Matthew Bourne as associate artist has resulted in another outstanding Christmas season for Sadler's Wells. This is a very exciting time for dance. Its increasing popularity in every part of the nation's cultural life is aided enormously by the creations of Matthew Bourne, and Sadler's Wells is proud to support his work.’

Mathew Bourne said: " New Adventures is delighted to have once again broken the Sadler’s Wells box office record with our new production of Edward Scissorhands. We are dedicated to bringing highly entertaining and inspiring dance/theatre to as wide an audience as possible. The fact that 66% of our audience was first time attendee's at the UK's premiere dance house is particularly thrilling and speaks for itself. I have been privileged to watch audiences take Edward to their hearts and roar their approval at over 85 performances. I would like to thank Alistair Spalding and Sadler’s Wells for another wonderful Christmas Season and, as they embark on a 14 week British Tour, pay tribute to the hardest working company in the UK."

Matthew Bourne, famous for his legendary version of Swan Lake, directs and choreographs this new production with design by long-term collaborator Lez Brotherston. It features a company of 30 dancers from Bourne’s own company, New Adventures. Sharing the title role are rising stars Sam Archer and Richard Winsor. Both aged 24, Edward Scissorhands is already their fourth show with Bourne, having previously performed in The Car Man, Nutcracker!, and Play Without Words. Scott Ambler and Etta Murfitt have both acted as Associate Directors as well as creating leading roles in the new production.

Edward Scissorhands is the touching and witty gothic fairytale of a boy created by an eccentric inventor who dies leaving him alone and unfinished. Left with only scissors for hands, Edward must find his place in a strange new suburban world where the well-meaning community struggle to see past his strange appearance to the innocence and gentleness within.

Original music has been composed by Terry Davies. He has also adapted musical themes from the motion picture composed by Danny Elfman. Elfman is one of Hollywood’s most unique and best-loved composers. Recognised worldwide for his music for The Simpson’s, he has also recently written the theme music to the TV cult hit Desperate Housewives. Terry Davies’ previous successes with Bourne have included the multi award-wining shows Play Without Words and The Car Man.



UK Tour 2006

EDINBURGH
Edinburgh Festival Theatre, 13/29 Nicholson Street, Edinburgh, EH8 9FT
7-11 February 2006
Box Office 0131 529 6000
www.eft.co.uk

SOUTHAMPTON
Southampton Mayflower, Commercial Road, Southampton, SO15 1GE
14-18 February 2006
Box Office 023 8071 1811
www.the-mayflower.com

SALFORD
The Lowry, Pier 8, Salford Quays, M50 3AZ
21-25 February 2006
Box Office 0870 111 2000
www.lowry.com

NORWICH
Norwich Theatre Royal, Theatre Street, Norwich, NR2 1RL
28 Feb ‘ 4 March 2006
Box Office 01603 630 000
www.theatre-royal-norwich.co.uk

WIMBLEDON
New Wimbledon Theatre, The Broadway, Wimbledon, London, SW19 1QG
7-11 March 2006
Box Office 0870 060 6646
www.theambassadors.com/newwimbledon

CARDIFF
Wales Millennium Centre, Bute Place,Cardiff, CF10 5AL
14-18 March
Box Office 0870 040 2000
www.wmc.org.uk

BIRMINGHAM
Birmingham Hippodrome, Hurst Street, Birmingham, B5 4TB
21-25 March 2006
Box Office 0870 730 1234
www.birminghamhippodrome.com

WOKING
New Victoria Theatre, Peacocks Centre, Woking, GU21 6GQ
28 March - 1 April 2006
Box Office 01483 545 900
www.theambassadors.com/woking

NOTTINGHAM
Nottingham Theatre Royal, Theatre Square, Nottingham, NG1 5ND
4-8 April 2006
Box Office 0115 989 5555
www.royalcentre-nottingham.co.uk

GLASGOW
Glasgow Theatre Royal, 282 Hope Street, Glasgow, G2 3QA
11-15 April 2006
Box Office 0141 240 1133
www.theatreroyalglasgow.com

NEWCASTLE
Newscastle Theatre Royal, 100 Grey Street, Newcastle upon Tyne, NE1 6BR
18-22 April 2006
Box Office 0879 905 5060
www.theatreroyal.co.uk

WYCOMBE
Wycombe Swan, St Mary Street, High Wycombe, Bucks,HP11 2XE
25-29 April 2006
Box Office 01494 512 000
www.wycombeswan.co.uk

BRADFORD
Alhambra Theatre, Morley Street, Bradford, West Yorkshire, BD7 1AJ
2-6 May 2006
Box Office 01274 432 000
www.bradford-theatres.co.uk

MILTON KEYNES
Milton Keynes Theatre, Marlborough Gate, Central Milton Keynes, MK9 3NZ
9-13 May 2006
Box Office 0870 060 6652
www.miltonkeynestheatre.com

http://rachelnorthlondon.blogspot.com/2006/01/edward-scissorhands.html

Welcome to CriticalDance, Rachel, and many thanks for your passionate review. Hope we hear from you regularly.

As there are several reviews of this show already on this thread, I'm going to keep mine brief, I was at the matinee on 25th March in Birmingham. I have not seen the Burton film:

This show is a magical, spectacular, breathtaking piece of dance theatre.
Costumes: outstanding
Choreography: outstanding
Sets: outstanding
Music: outstanding



enough said

Great to hear that Alex. I can't wait to see it when it come to the Kennedy Center in Washington DC next February

Matthew Bourne and New Adventures: Edward Scissorhands
Feb 13 - 18, 2007
Kennedy Center Opera House
http://www.kennedy-center.org/calendar/index.cfm?fuseaction=showEvent&event=DHDSF