This enchanting version of Tim Burton’s iconic tale, directed and choreographed by Sir Matthew Bourne OBE, brings the heartwarming story of Edward Scissorhands to life delightfully and festively. The production seamlessly combines dance, emotion, and narrative, entertaining the audience with its quality and thoughtful presentation.
The show closely follows the original 1990 film but introduces fresh elements that add to the overall narrative. Bourne introduces a new storyline, linking Edward’s creation to the tragic death of the inventor’s son, creating an emotional foundation for the humanoid’s journey. Due to a heart attack triggered by the teenagers’ break-in, the inventor passes away before completing Edward with human-like hands, leaving Edward with his scissor hands.
Liam Mower‘s silent yet powerful performance as Edward enhances the mystery and emotion of the character. The entire cast deserves commendation for their incredible use of body language and facial expressions to convey the sophisticated emotions and actions within the story. In this magical dance production, words become unnecessary as movements on stage effectively communicate the essence of the plot. Sometimes you see dancing as just a movement, but sometimes movements on stage have no ballet complexity and are just a way of communicating without words.
The story unfolds in a suburb of America, focusing on the Boggs family – Peg Bogg (Kerry Biggin), her husband Bill Boggs (Dominic North), and their cheer-leader daughter Kim (Katrina Lyndon), and a young son Kevin (Xavier Sotiya) – who opens their hearts to the abandoned Edward. As Edward navigates the challenges of acceptance and love, the production takes the audience on a journey filled with humour, love, and a touch of tragedy. The festive mood is spread through the performance, making it an ideal choice during this weather and in anticipation of the Christmas holiday.
The culmination of the story is both heart-wrenching and powerful, as jealousy of Kim’s boyfriend James ‘Jim’ Upton (Ben Brown) leads to a bad joke and a disastrous Christmas ball where Edward, accidentally, cuts Kevin. This was the limit to the Boggs’ support and other families’ recognition. Edward’s longing for love and acceptance is the core of the story, resulting in the exciting but poignant finale.
The production skillfully balances the light-hearted and poignant moments, leaving a lasting impression. In brief, Edward Scissorhands is a testament to Sir Matthew Bourne’s creativity and talent. The blend of dance, narrative, and visual elements creates a mesmerizing experience that complements traditional ballet.
The production’s visual elements, including costumes and set design by Lez Brotherston OBE, contribute to a clear distinction between the suburban families. From the all-black costumes of the religious fanatics, The Evercreech family (Mami Tomotani, Reece Causton, Molly Shaw-Downie, and Perreira De Jesus Franque), to the captivating outfits of the Monroe family, especially Joyce Monroe (Stephanie Billers) – a beautiful housewife who seduces everyone, including Edward. Each detail is scrupulously designed to enhance the immersive experience. The stage set is so expertly crafted that it transports the audience into the world of the film, creating a cinematic atmosphere within the theatre.
Without further ado, I would say that this heartwarming and visually stunning production is a perfect choice for those seeking a magical and festive theatrical experience.
Edward Scissorhands has now finished its run at The Lowry but continues its tour in London until 2024.
Written by Maria Plakhtieva
