Matthew Bourne’s EDWARD SCISSORHANDS. Photo Credit: Johan Persson
Stripping the story back to movement and music alone, Matthew Bourne’s EDWARD SCISSORHANDS is a visual spectacle brimming with potential.
EDWARD SCISSORHANDS, Matthew Bourne’s retelling of the Tim Burton classic, returns to The Lowry just before Christmas to bring some wonderous wintery magic to the Lowry stage. Stripping the story back to its heart and telling this touching tale through movement and music alone, Bourne has created a spectacle brimming with potential.
At the centre of the story, Liam Mower stars as the unfortunate Edward. Mower’s skilful control in his movement – even in Edward’s clumsiness – is masterful. He brings Edward’s familiar innocence and naivety to the forefront but introduces new, more playful aspects to his personality that pay off in his performance. His embodiment and characterisation of Edward is delightful and a joy to watch.
But it is Mower’s chemistry in his dance sequences with Katrina Lyndon as Kim that truly steals the show. Their renditions of Ice Dance and Farewell are outstanding; the way in which they react to one another’s movements and flow so effortlessly around each other is exquisite. Both Lyndon and Mower are fantastic storytellers in their movement, with the true standout moment of the piece being their performance of Topiary Garden.
As the piece closes Act One, Topiary Garden is the perfect choice by Bourne as it brings Edward’s feelings for Kim to a head, and we get to see a glimpse of how Edward wishes things could be. Mower perfectly portrays Edward’s longing for Kim, whilst Lyndon encapsulates everything that Edward wishes he could have – but also could be, gentle and graceful in her movements. The way in which Mower and Lyndon play off each other in this sequence and interact with the beautiful scenery created by the other dancers, Bourne’s choreography, and Les Brotherston’s set design is stunning.
Matthew Bourne’s EDWARD SCISSORHANDS. Photo Credit: Johan Persson
The same can be said for Brotherston’s set design throughout, as he has created some truly breathtaking tableaus that perfectly frame the cast and could tell a story all on their own. This, coupled with the striking silhouettes created by the cast and the magnificent, vibrant costumes also designed by Brotherston, makes for a visually striking performance.
Unfortunately, while Brotherston’s set and costumes could tell a story all on their own, Bourne has struggled to find one to tell in Edward Scissorhands. A shame when you consider how much heart there is to work with. It seems that rather than developing the relationship between Edward and Kim – or even his relationship with the Boggs family – Bourne chooses to trade storytelling with lengthy, parading group numbers.
While the remarkable talent of the cast is undeniable, these group numbers do very little to add to the story and seem to have both too much and not enough going on at the same time. You find yourself not quite sure what story is trying to be told, with no integral focus to the numbers, the audience is left scanning the stage only to find a series of random character interactions that are of no significance to the main storyline.
Matthew Bourne’s EDWARD SCISSORHANDS. Photo Credit: Johan Persson
Credit has to be given to the cast here, as within each of these group numbers, they can be seen adding their own unique character quirks and personalities to Bourne’s choreography as they tell stories of their own. One such example worthy of note is Stephanie Billers in the role of dissatisfied housewife Joyce Monroe. Billers brings her all to this role and ensures that in every number – whether or not she was centre stage – she embodies Joyce completely. Every movement, expression, and reaction is entirely Joyce – bold, flirtatious, and captivating. Billers commands the stage with every moment she spends on it, and her sequence with Mowers was a force to be reckoned with, an intricate masterclass in characterisation of movement.
Unfortunately, it is easy to lose others in the commotion of the group numbers, as despite each cast member telling a story of their own within them, Bourne hasn’t allowed this to amount to much when it all happens at the same time. What remains is a chaotic scene with choreography that feels clumsy and awkward, leaving you to wonder whether this time could have been better spent elsewhere, developing the plot. Any value that these group numbers could have added is quickly dissolved by the fact that they simply went on for too long, the meaning quickly becoming lost in a lengthy series of seemingly random movements and uncomfortable depictions of over-sexed teenagers.
When one considers how beautiful and striking Bourne’s choreography can be – particularly Topiary Garden, Ice Dance, and Farewell – Matthew Bourne’s EDWARD SCISSORHANDS is full of potential. With a touching story at its heart, an outstanding cast, and one of the most striking, evocative sets seen onstage this year, it could have been something truly special. However ultimately, Bourne failed to truly grasp the heart of the story, choosing instead to focus his attention elsewhere.
That being said, Bourne’s rendition remains an imaginative and unique retelling of a classic story that is worth the watch.
EDWARD SCISSORHANDS runs at The Lowry, Salford, until 2 December 2023
Megan Hyland is a full-time domestic abuse charity worker; part-time entertainment reviewer; and professional over-achiever. Currently one of ten writers chosen for Northern Broadsides’ Young Writers Forge, you can read more of her review writing at UpstagedManchester, The Custard TV and her blog The Manchester Maverick.
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