Edward Scissorhands – Birmingham Hippodrome

Matthew Bourne’s buoyant, yet tender, tale of acceptance and difference arrives at the Birmingham Hippodrome to a rousing audience welcome adding to the growing list of shows about inclusivity and understanding, “Everyone Talking About Jamie”, “Billy Elliot” etc which British audiences seem to adore and welcome with open arms. For those who don’t know, the ballet first emerged as a film by Tim Burton, a director known for championing odd, quirky and ultimately endearing tales of equally odd, quirky and ultimately endearing characters with Edward Scissorhands being, perhaps, one of the oddest. The 1990 gothic fantasy romance (as Wikipedia terms it covering as many bases as possible in an attempt to describe it) provided a great vehicle for Johnny Depp drawing on the director’s feelings of isolation and seclusion from his childhood.

It tells the story of a lonely and neglected human-like creature with scissors for fingers who befriends the local town’s folk and demonstrates a great skill for topiary and ice-sculpture whilst embarking on an unrequited romance with a beautiful girl who welcomes him into her life.

Bourne has almost single-handedly upturned the world of commercial, narrative-driven ballet and “Edward Scissorhands” (a subject which at first glance to the uninitiated would seem the least likely for a ballet but proves itself strangely apposite) is certainly no exception. Liam Mower masterfully takes the lead as the strange Pinocchio/Frankenstein mash-up and adeptly lives the part evoking the lonely, sad character without losing the humour. Katrina Lyndon plays the target of his affection, Kim Boggs, and both have a perfect chemistry between them. Notice I say they played the parts rather than danced for within minutes of watching you are so enrapt the storytelling takes centre stage and the fact it is told through movement seems secondary. The story is alive with vibrant, detailed and well rendered characters pushing forward a strong story which only dawdles a couple of times before finding its feet again.

Terry Davies’ arrangements of Danny Elfman’s compositions are embellished by delightful new music by the arranger himself. Lez Brotherson’s glorious set and costumes perfectly supports the concept as does Howard Harrison’s lighting design. The sound of Paul Groothus was perfect, but, of course, the undoubted star is Matthew Bourne whose invigorating and flawless direction and choreography never puts a foot wrong, literally and figuratively. It may not reach the dizzying emotional heights of his Swan Lake, but every moment is considered and every movement valuable nothing is wasted in a show which delights, endears and captivates in equal measure.

Playing until 10th February, https://www.birminghamhippodrome.com/calendar/mbs-edward-scissorhands/

Reviewer: Peter Kinnock

Reviewed: 6th February 2024

North West End UK Rating: