Edward Scissorhands review – Matthew Bourne ballet is a cut above the rest

Tim Burton’s mind has spawned a list of iconic creations. Often played by his best mates, they’ve grown to be interwoven with the fabric of pop culture. From original creatures like Beetlejuice to the re-envisioning of well-established characters (Willy Wonka, Sweeney Todd), it’s unlikely his aesthetics could ever be mistaken for someone else’s.

In 1990, Burton delivered to the screens one of his most heartbreaking characters in the stationery-saddled outcast Edward Scissorhands. With scissors as hands (a placeholder that was never replaced) and an unpleasant likeness, he lives secluded in a manor on a hill until he’s taken in by a kind lady and her family. A hedge-trimming and hair-cutting prodigy, he’s welcomed into the community in the nearby town of Hope Springs with wary open arms. That is until passion blooms and tragedy strikes.

Burton’s modern gothic romance thrives in Matthew Bourne’s 2005 dance adaptation – equal parts mesmeric, magical and melancholic. Danny Elfman’s swooping dramatic melodies that dwindle to a trillo become the vibrant centrepiece of Bourne’s spotless theatrical language alongside the new music penned by Terry Davies. With an enthralling visual narrative and eloquent choreography, the team deliver the perfect tonal translation of the motion picture. A physical vocabulary that overflows with detailed artistry and Bourne’s unmistakable sophistication populate Lez Brotherston’s stunning sets.

Audiences go from the gloom of the first Frankensteinian flashback to the powder pinks and baby blues of Edward’s adoptive neighbourhood. The imagery is surprisingly faithful to the film’s, with direct references to memorable moments and costumes of the same vibe. It’s a feast for the eyes and a punch to the soul. Darkly humorous vignettes separate the scenes as purely entertaining snippets, animating the atmosphere further and adding verve to background roles.

A threat to the suburban Bon Ton of Hope Springs, Liam Mower turns wistfully sensual from his initial sheepish grace as Edward ingratiates himself and becomes the local star. His movements slowly start to mimic the routines of the other dancers in a captivating ensemble number. Katrina Lyndon’s playful, coquettish nature as Kim beckons him in, but Mower doesn’t dare to lay his scissored limbs on her until the very last duet they share. It’s a beautiful touch.

While some of the choral parts could certainly be trimmed and tapered, the production is still as sharp as it gets with its oneiric sequences and dreamlike sensibility. A cohesive company of equal outstanding class and elegance offer confident takes on the beloved characters, making this a piece that will please hardcore dance buffs and Burtonian devotees all the same.