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Edward Scissorhands
Devised, Directed & Choreographed by Matthew Bourne
At Sadler’s Wells
Roseberry Avenue, London EC1
Original story & Motion Picture directed by Tim Burton
New Music and Arrangements by Terry Davies
Designed by Les Brotherston
Lighting designed by Howard Harrison
Call +44 (0) 870 737 7737 Tickets £10 - £48
Tues – Sat 7.30pm; Sat Mat 2.30pm Sun Mat 4.00pm
Running time 2 hours with intermission
Through 5 February 2006
Cutting a Dash, But Drawing No Blood
Beginning with it’s (all to few) darker moments, this dazzling production sweeps all before it in exuberant style and panache. Breathtakingly inventive and stylish, it transcended the wordless medium of dance.
However, in transferring the movie to Sadler’s Wells at Christmas time, director, Matthew Burton turned away from the dangerous power of the story, towards the family show, suitable for very young children. In eschewing the opportunities for the truly Gothic, one couldn’t help feeling that an immense opportunity has gone begging.
The principal character, Edward Scissorhands, received his ‘birth’ in the metaphorical disability of the painful childhood of his creator, Tim Burton, and arrives in suburbia via his Frankenstein like family tree, with scissors for hands. In an hilarious collection of character studies from the company, middle America is shown in all it’s glory. Brilliant work abounded, perhaps most noticeably in the glorious vamp of Michela Meazza and her exercise freak husband, Steve Kirkham.
The outcast (well, scissors) finds the good citizens of Hope Springs surprisingly ready to forgive his rather frightening attributes, and take him to their hearts, making his affliction of little burden to him. He even finds wonderful opportunities to ingratiate himself with his topiary skills, both icy and leafy, in some of the show’s most original scenes. Given the grotesque nature of Edward’s deformity, something more real, something that felt like genuine emotion (fear and revulsion?) was crying out to be heard. When the fairy tale turns nasty, and the town turns on Edward, it would have been so much more poignant. It might have given Sam Archer, dancing Edward on the night, something to work with, although he seemed not even able to accept the gifts his limited role offered, in a performance of low octane.
With the extra dimension, this triumph of design by Les Brotherston, choreography by Tim Burton, and music by Terry Davies, and quite the most perfect ensemble work in London might have counted among the productions of the decade.
Highly Recommended
Saul Reichlin
London Correspondent
www.ChicagoCritic.com
Chicago Stage Talk Radio Show
Thursday 1 Dec 2005
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