Now, first things first – I haven’t seen the movie.
I know. I’m sorry. It’s just one of those iconic pieces of pop culture that’s somehow slipped through the cracks. Everyone has at least one. Maybe your complete experience of Star Wars is informed from a skit you once saw on The Simpsons, or when someone talks about Hufflepuff you think they’re referring to an obscure Pokémon, or maybe you think Batman was bitten by a radioactive bat and that’s why he can fly.
For me, Edward Scissorhands was simply a few snippets of a young Johnny Depp cutting bushes into pretty shapes that I’d half seen whilst channel hopping. Don’t get me wrong, I always assumed there was more to it than that – but having now watched Matthew Bourne’s reinterpretation of the story, it’s safe to say I’m certain.
This was simply, a crowd-pleasing delight. It completely embodied the dark fairytale aesthetic that Tim Burton usually goes in for – yes, don’t worry, I have seen enough of Tim’s other work to hazard a guess that his version ticked similar boxes – and the soundtrack is gorgeous too, with original music from composer Terry Davies that pays homage to and includes sections of Danny Elfman’s original score.
The story kicks off when the peaceful town of Hope Springs – a kind of 50’s Americana fever dream – is interrupted by the arrival of Edward, an emo-Frankenstein that it will come as a surprise to no one, has scissors for hands. He is soon taken in by a kind family, becoming a fascinating oddity to their surrounding neighbours, but also a particular object of affection for Kim, whose complex feelings for Edward are less than well-received by her boyfriend Jim.
Photo by Johan Persson
Liam Mower leads, with a strong, emotive performance, alongside Ashley Shaw who plays Kim Boggs with elegant grace, navigating the line between prom queen and kind-hearted teen you want to root for. That said, the entire cast embody an array of clearly defined characters. Aside from their exquisite movement, for me it was actually the facial choreography that made the greatest impression, with their expressions consistent and meticulous in communicating their distinct characteristics.
I’m sure there will be some ballet stalwarts left questioning – ‘where exactly was the ballet in all this?’ – but that entirely misses the point of why this show was called into existence in the first place. It bridges the gap between the experts and those who have their feet more firmly planted in the musicals sphere, generally less interested in watching a full-on dance show, let alone a ballet – littered as the art form still is with unfair elitist connotations.
And in any case, there are some really impressive sequences that would surely appeal to those more in the know about contemporary technique, and those whose expertise sit closer to occasionally getting snooty about the group numbers on Strictly (that’s me by the way, could you tell?).
Lack of ballet credentials aside, I was mightily impressed that almost all choreography on show justified itself as being integral to moving the story forward – with just one exception. The ‘Hope Springs Christmas Ball’ seemed to go on just a little too long for my taste, and felt a bit like the dancers had collectively hit pause so they could break character and do a few tricks. But then perhaps the aforementioned stalwarts would disagree here – delighted that this segment at least appeased their concerns of the show lacking more ballet-specific content.
Regardless, Edward Scissorhands is an imaginative feast for the senses, with some genuine depth to be found beneath the glitz and sparkle. Bourne has successfully taken Burton’s cult classic and reinvented it, leaving us with a mesmerising spectacle that crosses the boundary of traditional ballet to appeal to anyone and everyone who can appreciate live performance.
Wales Millennium Centre, Cardiff
Until 23 March 2024