MUSICAL: EDWARD SCISSORHANDS
REVIEW BY AMELIA GROOM
In this new dance theatre production of the classic Tim Burton motion picture we follow the sweet and wistful young Edward, a boy created by an eccentric inventor who left him with scissors instead of hands.
When Edward flees the dark castle on the hill for a squeaky-clean 1950s suburban community, he becomes smitten by Kim, the teenage daughter of his adopted family. Their tender but ill-fated love is the heart of the story, which has been recreated here in movement, with no dialogue to clutter the theatrical terrain. Dance, pantomime, music, costume, set and lighting together tell the tale, without a single spoken word.
It’s a magical story, but one grounded in the reality of the world we know, and the emotions we all go through. In Bourne’s words, Edward is ‘the ultimate outsider character,’ and everyone relates to the feelings of isolation, adolescent self-consciousness, and wanting to be accepted but feeling unable to connect.
The scissors for hands are a clear metaphor for being unable to reach out and touch others, but Edward learns he can use his these hands to make beautiful things. He becomes a creator, and part of the story is about creativity and the burden and social isolation of the artist.
Adding to the magic are Burtonesque sets by Lez Brotherston (Swan Lake, Cinderella, Highland Fling) which evolve from the dark haunted mansion to cookie-cutter homes in pastel-coloured suburbia to animal topiary with glowing red eyes and a glittering ice sculpture.
Bourne (who didn’t start studying dance until he was in his twenties) is an unashamed populist who has no interest in difficult, obscure or elitist art. This has made him somewhat controversial figure in the dance world, especially with ballet aficionados, but he is recognised as the UK’s most successful contemporary choreographer/director.
Renowned for his inspired interpretations of beloved stories, he brings dance and ballet to new audiences worldwide. He is best known for his production of Swan Lake (featuring a corps of male swans), the world’s longest-running ballet production, which made him the only British director to win Tony Awards for both Best Director and Best Choreographer.
Bourne shares Burton’s love of humour, pastiche and eccentricity and Burton’s strange, fantastical and romantic film translates well to dance, especially in scenes like the hair cutting, topiary garden clipping and ice sculpting – but the characters have a lot less depth than in the film and at times fail to emotionally engage.
Matthew Bourne’s Edward Scissorhands
Until June 14
Sydney Opera House
$59.90-$130
Bookings: 02 9250 7777 or www.edwardscissorhands.com.au
