Book and Lyrics by Tom MacRae
From an idea by Jonathan Butterell
Directed by Matt Ryan from original direction by Jonathan Butterell
Review by Annie Aslett
Matthew Bourne’s staging of Edward Scissorhands, bringing to life the iconic story by Tim Burton, is back on tour for 2024. It’s a spellbinding ballet which tells the story of Edward, a boy with scissors for hands created by an eccentric inventor, taken in by a family in the small suburbs of Hope Springs and follows his search for acceptance in a society that struggles to see past his appearance. The combination of Bourne’s gorgeous choreography, Lez Brotherston’s astonishing staging and costume design and the haunting score (a mix of Danny Elfman’s original and new music by Terry Davies) is enthralling and a true spectacle to behold.
The role of Edward this evening is played by Stephen Murray, who disappears into the character, bringing Edward to life as he hurtles along a rollercoaster of fresh experiences and emotions. Murray excels at portraying Edward’s idiosyncratic, stilted movements, believably intertwining this awkward physicality with the grace of Bourne’s choreography. Often intensely vulnerable, Murray’s Edward is someone you want to scoop up and protect. As Edward grows in confidence and standing in society, Murray brings heaps of charm and swagger to his movements, made all the more poignant when he is brought low by Benjamin Barlow Bazeley as bully Jim Upton. With the help of the exaggeratedly forlorn eyebrows painted on his face, Murray is pitch-perfect as this innocent creature pinballing from stranger to stranger, at the mercy of their kindness or cruelty.
Embodying warmth and compassion is Kerry Biggin as Peg Boggs, the mother who finds Edward rooting around the bins and takes him in. Biggin is stunning in the role, her open and caring expressions often marred with worry for Edward and her family. Ashley Shaw is grace personified as Kim Boggs, the cheerleader daughter that Edward falls in love with; Shaw is dazzling both as a dancer, particularly in her duets with Murray, and as an actress, as she navigates the toxic relationship she finds herself in with abusive boyfriend, Jim. Barlow Bazeley is magnificently two-faced as the town bully, utterly transparent in his initial charm with Kim and the adults, his toxicity always on show for the audience.
Our performers surely couldn’t wish for a more immersive and awe-inspiring production; Brotherston’s set and costume design are nothing less than breathtaking. From quaint suburban homes to gothic ruins, the cast and audience are plunged into the world of Hope Springs with its evocative tableaus. We are treated to iconic scenes from the 1990 movie, the ice sculpture being a particular highlight. The fusion of Burton and Bourne is a match made in heaven, as Bourne’s innovative choreography is shown off during a dream sequence filled with dancing hedge sculptures that feel straight out of Burton’s mind.
Beyond the phenomenal staging, the great success of this production of Edward Scissorhands is the impressive storytelling that each person on stage delivers at all times. The show merits watching a dozen times over to focus on a different dancer each time, as each cast member fully embodies their character, no matter how small their role in a scene. Most families in Hope Springs get a small spotlight during the ensemble number when the audience is introduced to the town and its residents, and it would be easy for these characters to fade into the background for the rest of the show. Instead, eyes are drawn throughout to some of the fantastic background acting – these actors are not just donning a costume and becoming another face in the ensemble numbers, but embodying their roles, each one the star of their own story.
Alice O’Brien and Perreira De Jesus Franque are phenomenal as the heathen children of the pious Reverend Evercreech and his wife – O’Brien plays Marilyn-Ann Evercreech as an understated Wednesday Addams figure, who draws the eye in every scene with her straight-faced black humour. Glenn Graham as Mayor Upton is a triumph, his facial expressions a masterful caricature of the cloyingly charming politician. The hardest-working family award goes to the Monroes – each a delight in their distinct yet distinctive roles. Megan Ferguson and Aristide Lyons are wonderfully over-the-top as the precocious children of Joyce and George Monroe; Stephanie Billers oozes confidence and innuendo as Joyce, the scintillating cougar looking to take a bite out of Edward; and Luke Murphy gets some of the biggest laughs as George, Joyce’s receding husband, bringing unabashed ridiculousness to the role with his combover and gasp-inducingly short short-shorts. Don’t miss this sumptuous spectacle playing at the Theatre Royal from the 21st-25th of May.
Spectacle
Edward Scissorhands runs at The Theatre Royal until May 25th.
Running time – One hour and fifty-five minutes with one interval. Suitable for ages 8+
Photo credit – Johan Persson
Review by Annie Aslett
Annie is a life-long lover of musical theatre, whose childhood performances included a rousing production of Snow White in The Hall and a heartfelt rendition of Go, Go, Go Joseph in The Living Room. While confined to the audiences these days, she regularly catches the latest shows and musicals in London’s West End and is excited to experience the musical delights of the Fringe, as well as any comedy that she can get her hands on. School’s out and she’s raring to review.
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