by Paula Citron
The curtain call for Matthew Bourne’s “Edward Scissorhands” earned a standing ovation, not to mention the odd tear or two. Clearly, the British choreographer/director’s dance theatre adaptation of Tim Burton’s 1990 cult movie had touched the heartstrings by capturing both the sweetness and darkness of the original.
The award-winning Bourne creates plays without words, and he has a remarkable facility for fashioning character in movement. The real people he puts on stage utter not one word, yet we know exactly who they are.
To tell Edward’s story, Bourne and co-adaptor Caroline Thompson use the clever device of six families, each with a mother, father, daughter and son, who live in a 1950 pastel suburban universe. Into this hothouse stumbles the naïve and loveable Edward Scissorhands, performed by an amazing Sam Archer, the teenager whose inventor died before he could complete the hands that have long scissors for fingers.
In short, a Bourne production is brilliant theatre because it is built on imaginative details.
“Edward Scissorhands” continues until Saturday.
From the Hummingbird Centre I’m Paula Citron, arts reviewer for Classical 96.3 FM.