Review
Edward Scissorhands
BAM Gilman Opera House
March 14, 2007
VanLoan
vanloan@nyconstage.org
Edward Scissorhands is Matthew Bourne's latest dance/theater piece
created for his production company New Adventures. Bourne, the internationally
acclaimed choreographer/director, has adapted Tim Burton's beloved movie of the
same name for the stage. In characteristic Bourne fashion, the work is without
dialogue.
The work follows the film rather closely (due to its cult status, Bourne dare
not deviate too far). A kooky inventor is killed by a group of thugs in his
laboratory while in the creation of a human-like creature. Unfortunately, the
creature is left with large scissors in lieu of hands. As he escapes into the
real world, Edward stumbles into a prototypical 1950's suburban community right
out of "Ozzie and Harriet". Taken under the wing of Peg Boggs, Edward tries to
conform to the cultural mores of the community. He soon learns to use his
"hands" to his advantage becoming the town hair stylist and also its topiary
mastermind. He also starts to fall in love with Mrs. Boggs daughter, Kim, much
to the displeasure of her ruffian boyfriend, Jim. Because this is the conformist
'50's and Edward is obviously an outcast; it is not surprising that things will
end badly.
It is unfortunate to report that despite some lyrical set pieces the evening is
relatively flat. It is more unpleasant to note the major cause of this: Bourne's
rather lame choreography. After the exhilarating Play Without Words (BAM 2004),
it feels that Bourne is just going through the paces. Being the creative
innovator he is, it seems unlikely that he is intimidated by Burton's movie. The
only dance sequences that come alive are "The Boggs Barbeque" and "The Annual
Christmas Ball" which both idolize and lampoon the events portrayed. We are
thankfully left with Terry Davies ravishing musical arrangements based on
original themes composed for the movie by Danny Elfman (Mr. Davies also
conducted the orchestra the night I saw it). It is the best part of the evening.
Tony Award winner (Bourne's Swan Lake) Lez Brotherston's candy-colored sets and
costumes are both festive and easy on the eyes. Richard Winsor danced the role
of Edward the evening I saw the piece (he alternates with Sam Archer) and
brought both the requisite pathos and humor to the part. While there is nothing
truly bad about the evening; there is a certain feeling of mediocrity to it.
It's something I never thought I would charge Matthew Bourne with; maybe he just
needs a little touchup with Edward's scissors.
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