Review: Edward Scissorhands, Bristol Hippodrome – ‘Haunting, funny, evocative – it’s Matthew Bourne at his enchanting best’

With his globally successful company New Adventures, dance-theatre maestro Sir Matthew Bourne has long been fascinated with telling stories of The Other.

From the plight of the prince in Swan Lake (set for its 30th anniversary revival at the end of 2024), to the gothic splendour of Sleeping Beauty, it can also be felt in the filmic overtones of The Car Man (2000) – in which a small town in 1960s America is thrown into disarray by the arrival of a dashing stranger.

Bourne’s masterful adaptation of Edward Scissorhands, now touring again after a nine year absence, is a perfect distillation of these preoccupations.

Company of Edward Scissorhands

Based on Tim Burton’s haunting film, with an original screenplay by Caroline Thompson – herself a personal friend of Bourne – and with new musical arrangements by Terry Davies based on Danny Elfman’s original soundtrack, this production opens with a boy struck by lightning while holding scissors.

When his grieving inventor father dies midway through his attempt, essentially, to reconstruct his son, he leaves a not-quite-human adult Edward with scissors for hands, incomplete and isolated in an unfamiliar world.

Christina Rebecca Gibbs (Mrs Charity Upton)

This Frankenstein-infused story plays out against the backdrop of Hope Springs, a suburban, unassuming American town in which Edward must overcome discrimination, misunderstanding, fear and hostility in the quest for acceptance, belonging and love.

The beautiful simplicity of the narrative is perhaps what makes it so timeless; Bourne has bestowed within it the requisite space to let the deep poignancy of Edward’s story breathe, as it unfurls before him.

Liam Mower (Edward, left) and company

Long-time collaborator Lez Brotherston’s costume and design is stunning throughout. The gothic mansion at the edge of town, in which Edward was created, is the perfect counter to the technicolour perfection of Hope Springs.

With its white picket fences and freshly-mown front yards, it showcases – at least superficially – some idea of the American Dream; rather homogenous and seemingly harmonious. But after setting up a community of brilliantly drawn, multi-generational archetypes: the 60s housewife, the gay dads, the mayoral candidate, the goth kids and their bible-bashing parents – Bourne asks, how do people respond to a perceived monster in their midst?

Liam Mower (Edward)

Liam Mower is wonderful as the strange and innocent Edward, his face fixed in lines of sorrow and concern, and never quite sure how to act and react around others.

Mechanical and doll-like at first, he is gradually more at ease as he and the townsfolk begin to emulate each other’s movement, dancing in unison. There are unmistakable flashes of happiness here, but all the while you sense for Edward it will only ever be mimicry; he is with them, but he won’t ever, quite, become one of them.

Full company

In dream sequences that are, it strikes me, pure Bourne – bringing to mind his enchanting tailor’s dummy duet from Cinderella – Edward’s inner yearning is characterised by lyrical and graceful choreography. A gorgeous projection of a cheerleader poster coming to life leads him to twirl like the music box ballerina before him, punctuated by moments of sharpness that he cannot quite escape.

It is in his tender duets with Kim Boggs (Ashley Shaw), that Edward is at his most free. Firstly, they find themselves together in a fantasy topiary garden, where he is briefly bestowed with hands, not scissors.

Ashley Shaw (Kim Boggs)

Later – scissors restored – in a piece full of exquisite, tender lifts, they dance around an ice sculpture of Kim that he has created. It is the emotional heart of the show, and as delicate and transient as the snow falling upon them.

The production features a fantastic ensemble cast, all of whom alongside their dancing prowess exhibit the brilliantly expressive acting and humour that is a hallmark of Bourne’s work.

Holly Saw (Miss Bunny Monroe)

In particular, special mention must be given to Holly Saw as the irrepressible Miss Bunny Monroe and, in his first major production as a newly trained dancer, Aristide Lyons as Gerald Monroe – energetic, exuberant and giving absolutely everything to the performance.

While he often takes audiences to sad places, Bourne is also a fan of a redemptive ending, and this one doesn’t disappoint. Without saying too much, it’s a beautifully evocative way to bookend this absolute delight of a show.

Edward Scissorhands is at Bristol Hippodrome from March 5-9 at 7.30pm, with 2.30pm matinee shows on Thursday and Saturday. Tickets are available at www.atgtickets.com.

All photos: Johan Persson

Read more: Review: The Nutcracker, Bristol Hippodrome – ‘A riotously kitsch fantasy show’

Listen to the latest Bristol24/7 Behind the Headlines podcast: