Edward Scissorhands
New Adventures
The
Lowry, 27th November 2014, matinee performance
Liverpool Empire, 31st January 2015,
matinee performance
Photo Credit: New Adventures
(Accessed from http://new-adventures.net)
This dance-drama is loosely based on director
Tim Burton's 1990 film of the same name, using the film plot as a springboard
for Matthew Bourne's own, slightly differing version of the story, while still
retaining the heartrending spirit and romance of the original.
The music, by Terry Davies, is based around the
original score by Danny Elfman and also conjures the charismatic essence of its
predecessor.The sets and costumes, by Bourne's usual designer Lez Brotherston,
are a clever mix between Gothic mystery,magic and a cartooned pastiche of
1950's suburban America.
The story is another reworking of the classic
tale of the Beauty and the Beast; a struggle for acceptance into society.
Edward Scissorhands is vaguely reminiscent of Frankenstein's monster, but infinitely
more innocent and tender, evoking empathy rather than fear from the audience,
if not all of the other inhabitants of the stage.
Adopted by the motherly Peg Boggs, Edward
attempts to mimic humanity, his automaton-like, stuttering movements gradually growing
in gracefulness; he tries to copy those he encounters and is desperate for
acceptance - something that many in the audience can relate to, and therein
lies the secret of Bourne's success: the ability to touch a chord and rouse
empathy and understanding in his audiences.
1950's American suburbia is initially
represented as a cosy, somewhat sugarcoated normality but this is revealed to
be a superficial pretence, concealing a world full of gossip, jealousy,
hypocrisy, oneupmanship and resentment, simmering under a seemingly harmless
facade.
This is a tale of tolerance and intolerance; an
exploration of misconceptions where Edward's seemingly dark,Gothic and
mysterious origins are less of a horror than the attitudes of those dwelling in
bright,pastel-hued suburbia.
In both matinees, Dominic North excelled as
Edward, a beautifully eloquent dance-actor, perfectly personifying the sweet
natured, pure-hearted Edward, highly expressive in both face and movement,
combining a sense of comedic timing with plaintive longing and a sense of
trusting innocence, as he struggles to overcome his frustration at being
trapped within his physical differences, forever denied true acceptance by
society.
Etta Murfitt was a motherly Peg Boggs in both
performances, full of compassion and warmth yet still an archetypal soap-opera
housewife.
At the Lowry matinee, Saranne Curtin portrayed
Joyce Monroe as a cold, sophisticated Vamp, selfish,heartless and elegant,
pursuing Edward with frightening single mindedness - an accomplished
characterisation of the intimidating older woman.
At the Liverpool Empire, the role of Joyce was
played by Madelaine Brennan,creating a more comedic character, a clever parody
of a desperate and frustrated middle-aged housewife attempting to be an urban
cougar.Both approaches were equally effective!
Dominic Clark as Jim Upton was a threatening
physical presence, a bit of a lout, whereas Tom Clark portrayed a youth
desperate to be intimidating, less physically powerful, a teenager trying to
prove himself.Very different interpretations which were again equally valid.
The role of Kim was danced capably by both
Ashley Shaw and Katy Lowenhoff, Lowenhoff bringing a particular sensitivity to
the role, particularly when partnering Dominic North.
The ensemble dances were full of character and
in places, a certain cheeky comedy and observation so typical of Bourne's
choreography.The Topiary ballet was a particularly surreal and magical moment.
This beautiful piece of dance drama has a
yearning poignancy enhanced by the backdrop of superficiality combined with
emotive music.It is a commentary on the inability of society to accept things
and people that do not conform to the recognised norm,cleverly concealed within
an enchanting family fairy-story and paralleling the themes in Bourne's Swan
Lake, which also explores the concept of acceptance and self-acceptance set
against the background of perceived society norms.
This is an excellent production for all the
family to enjoy, catch it while you can during 2015 at Norwich Theatre Royal,
Birmingham Hippodrome, Milton Keynes Theatre, Bradford Alhambra, Southampton
Mayflower and Cardiff Wales Millennium Centre.
Annie
@CorieltauviArt
Annie
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