Edward Scissorhands at Sadler’s Wells

Matthew Bourne’s dance creations consistently deliver what few shows can: impeccable storytelling of well-known tales from cinema and popular culture through high-calibre contemporary dance choreography, all wrapped in a visually stunning feast that can appeal to a whole spectrum of theatregoers. If the realm of dance can sometimes seen as inaccessible or constrained by tradition, New Adventures dance company is a prime example of how to break down those barriers.

Taking Tim Burton’s iconic 1990 movie that solidified his gothic palette for many a feature to come, Edward Scissorhands, first performed in 2005, recreates the beginnings of the mysterious, Frankenstein-esque eponymous character with blades for hands and his crashing into the stilted, candy-hued 1950s realm of American Suburbia.

Of Bourne’s productions, Edward Scissorhands is slightly different to the likes of Swan Lake and Sleeping Beauty in that it is underpinned by cinema rather than dance. As such, the opening quarter seems more dedicated to setting the scene of the story, and at some point, one may find themselves anxiously awaiting that inventive choreography blended into the storytelling Bourne is so known for. But the feeling doesn’t last long, and once the dancers are finally fully unleashed, the audience is more than satiated.

Spectacular ensemble numbers between the town’s people, with clever moments of wit and tongue-in-cheek sending up of the stereotypical characters, are nothing short of mesmerising, Danny Elfman’s hypnotic original score and new arrangments by Terry Davies recalling and accentuating moments from the movie. The creative staging and retro costumes are pitch-perfect at every turn, from the full-skirted housewives to the baseball jacket-wearing jocks. The most impressive set pieces come as they all sizzle in the sun and Edward becomes almost universally liked for the punky hairstyles he bestows upon each resident, and the phenomenal final ball scene, infused with 1950s dance steps. Special mention also has to be made of Nicole Kabera, who takes on the role of Joyce Munroe with gusto, going all in on her sex appeal and desire to seduce the innocent Edward.

But of course, the real spectacle centres around Edward (Liam Mower) and the burgeoning chemistry between him and Kim Boggs (Katrina Lyndon), their numerous duets punctuating the more light-hearted action, among the highlights being their dance aside the ice sculpture he makes of her likeness and along with cleverly costumed dancers to imitate sculpted trees, all of which culminate in a stunning pas de deux back in Edward’s tower, the pair of dancers melting seamlessly into one another, the contrast of her pure white dress set against Scissorhands’ crude leather outfit and glinting blades, a perfect metaphor for how she sees past his startling appearance to find the love and gentleness within. 

As pretend snow falls from the rafters, all the romantic, Christmas-tinged melancholy of the film simmers over, the silhouette of poor old Scissorhands and a now elderly Kim holding tightly to her scissor memento of him, a striking and bittersweet lingering image.

Edward Scissorhands is a sumptuously gothic, playfully staged and magnificently danced incarnation of Burton’s quirky film that explores how we can both fetishise and ostracise those who don’t fit into conventional society rather than accept them for who they are, a transporting festive delight not to be missed.

Sarah Bradbury
Photos: Ambra Vernuccio

Edward Scissorhands is at Sadler’s Wells from 5^th December until 20^th January 2024. For further information or to book visit the theatre’s website here.