EDWARD SCISSORHANDS, LONDON'S THEATRICAL DANCE SENSATION, TAKES FOX STAGE, FEBRUARY 27-March 11, 2007
February 27, 2007..... Matthew Bourne and New Adventures are back with their latest creation--a magical new adaptation of the classic Tim Burton motion picture Edward Scissorhands . Following a record-breaking run at Sadler's Wells in London and a sellout UK tour, this newest theatrical dance phenomenon will premiere across North America in a 23-week tour, visiting 12 cities prior to its New York debut. Presented by Dance St. Louis, Edward Scissorhands will play the Fox Theatre for a limited two-week engagement February 27-March 11 as part of the U.S. Bank Broadway Series.
A treat for the whole family, Edward Scissorhands features 30 dancers in a touching, witty, gothic fairytale story of a boy created by an eccentric inventor who dies leaving him alone and unfinished. Left with only scissors for hands, Edward must find his place in a strange new suburban world where the well-meaning community around him struggles to see past his appearance to the innocence and gentleness within.
Edward Scissorhands is devised, directed and choreographed by Matthew Bourne, based on the original motion picture of the same name, by arrangement with 20th Century Fox. Music is composed, arranged and adapted by Terry Davies, based on the original motion picture score by Danny Elfman. Original screenplay and co-adaptation is by Caroline Thompson. Set and costumes are by Lez Brotherston, lighting by Howard Harrison and sound by Paul Groothuis. New Adventures, Martin McCallum and Marc Platt are producers. Tim Burton wrote the original story and directed the motion picture.
Edward Scissorhands broke all box office records when it premiered at Sadler's Wells November 2005. Audiences of all ages have been captivated by the humor and charm of the leading character, Edward, who is an innocent soul forced to find his way in a world that doesn't accept him. Matthew Bourne says, "I have been privileged to watch audiences take Edward into their hearts and roar their approval. What a delight it is to bring this fantastic story to audiences all over the world as a dance/theatre piece."
Matthew Bourne (Director/Choreographer) most recently won London's Olivier award for choreographing Disney's new stage production of Mary Poppins , which comes to Broadway next season. Play Without Words brought him another Olivier Award for choreography, and opened to critical acclaim in New York in March 2005. His other credits include major revivals of classic musicals including Cameron Mackintosh's productions of Oliver! (1994) and My Fair Lady (2002) as well as the National Theatre's revival of South Pacific (2002). As the director and choreographer for Swan Lake (currently on world tour) Matthew Bourne is the only British director to have won the Tony ® Award for Best Director and Best Choreographer of a Musical (1999).
Lez Brotherston (Set and Costume Design) won a 1999 Tony ® Award for his work on Matthew Bourne's Swan Lake and an Olivier Award for Cinderella . Other credits include Play Without Words , The Car Man and Highland Fling (all with Matthew Bourne) and works at the Donmar Warehouse, Royal National Theatre and on London's West End.
Curtain times are Tuesdays through Fridays at 8 p.m.; Saturdays at 2 p.m. and 8 p.m.; Sunday, March 4 at 2 p.m. and 7:30 p.m.; and Sunday, March 11 at 2 p.m. There is also a weekday matinee on Thursday, March 8 at 1 p.m. Tickets for range from $22-$60 depending on performance date and seat location. Tickets are on sale at the Fox Theatre and Dance St. Louis box and all MetroTix locations. To charge by phone, call MetroTix at 314-534-1111 or order online at www.metrotix.com . Groups of 20 or more can call 314-535-2900.
ST. LOUIS REVIEWS OF EDWARD SCISSORHANDS AT THE FOX
St. Louis Post-Dispatch - Judith Newmark
March 1, 2007
Edward Scissorhands, which opened Tuesday at the Fox Theatre, tells its offbeat story without a spoken word. Characters emerge with clear personalities; relationships evolve and fall apart; a hero, strange yet touching, stakes his claim on the audience's heart.
In other words, this is dance that's pretty easy to follow. It's not too formal, the way ballet can seem; it's not one of those terrifically cryptic, inner-directed contemporary pieces. It's a little bit reminiscent of Susan Stroman's hit Contact, a technically polished, story-driven, emotional show
that blurred the lines between theater and dance.
Like Stroman, Matthew Bourne--the man who devised, directed and choreographed Edward Scissorhands --is interested in making dance that isn't for the dance audience alone.
It's the smart move; the dance audience, after all, isn't big enough to support new work all by itself. Nor can it grow bigger on a specialized repertoire tailored to people who say they like dance to begin with.
Bourne was inspired by the Tim Burton movie starring Johnny Depp as Edward, a creature stitched together by an inventor. Instead of hands, he has long scissors. On opening night, Richard Winsor danced the role. When the inventor dies after a visit from cruel pranksters, Edward wanders off into suburbia.
Winsor is very affecting as he portrays Edward's struggles to "adjust" to life with a family that takes him in. Putting on pajamas is a baffling ordeal; a barbecue turns him into a skewer.
Winsor's dead-white, wide-eyed face is a study in alienation--a fascinating counterpoint to his artful leaps and lunges. Because the family has a pretty daughter, Kim (Hannah Vassallo), he soon feels other impulses, as strange to him as they are to every teen.
In time, Edward learns to use his scissor-hands in ways people enjoy, creating wonderful topiaries, hairstyles and a spectacular ice sculpture. In the most touching scene, Bourne frees him of the appliances so Edward and Kim can perform a sweet duet.
Designer Lez Brotherston gives the show its stylish look. Composer Terry Davies based the music on Danny Elfman's movie score. Here, it's recorded. In some cities on this pre-New York tour, live musicians were used. This score, just serviceable, may need the artist's hand less than most.
We already know how to look at dance, Bourne takes pains to assure us. With Edward Scissorhands, he repays our effort with a good story, sleek as a model kitchen and resonant as fairy tales.
Having been a fan of Tim Burton's cult classic Edward Scissorhands , I was skeptical in seeing it adapted into a premiere dance production; but I was pleasantly surprised...as was the audience. Utilizing precise movement, music, and design, Matthew Bourne (director/choreograph) and New Adventures bring this whimsical gothic fairytale to life.
Based on the original motion picture, Edward Scissorhands portrays the life of a young man created by an eccentric inventor, who dies leaving Edward alone and unfinished. Faced with scissors for hands, Edward must quickly adapt to the cookie cutter suburban world with a unique personality of its own. The community struggles to see past Edward's wild appearance to the soft sincere heart within.
I was amazed by the physical characterization of the piece. Each dancer moved beautifully and with clear-cut character choices. It was obvious that a plethora of research had been done on each of the characters. The movements were crisp and the emotions, feelings, and attitudes displayed were clear. The story was well weaved. This not your ordinary ballet, but when you have a piece within the production called the Suburban ballet, or a ballet featuring dancing topiaries, how can it be?
The music and design only heightened the production as everything had a strong through line. The music was composed and arranged by Terry Davis, adapting the original motion picture score by Danny Elfman, creating a seamless piece. The set and costumes, designed by Lez Brotherston, were nothing short of a perfect Burton-esque creation. The colors popped and the costumes were divine!
Matthew Bourne brilliantly conceived this magical production. A show the whole family can enjoy whether you know the story or not.
A pre-Broadway run of an unusual show from an even more unusual movie hit the Fox this week- Edward Scissorhands . Co-produced by Fox Associates and Dance St. Louis, Edward Scissorhands is a polished, professional show that probably will appeal more to the dance audience than the regular theatre audience.
Since it is a very exhausting show for the dancers, there are at least two full casts that alternate performances. On opening night the audience enjoyed Richard Winsor in the title role and he did not disappoint. His graceful use of the scissors attached to the end of his arms by the inventor who died and left him "orphaned," is remarkable. Leaps and dance moves that are hard enough become particularly dazzling with these unusual appendages.
The supporting cast is equally amazing as not a word of dialogue is spoken. The entire piece is done through dance supported mainly by the bizarre Danny Elfman music composed for the original Johnny Depp film as directed by Tim Burton. Here, Matthew Bourne has devised, directed and choreographed the piece in dizzying fashion. Aided by a knock-out set and wonderful lighting, it's a feast for the eyes.
Don't be disappointed, however, if you're expecting a musical version of the film. It's dance- dance at its best- but a show geared more to the dance crowd. It's such a universal entertainment and done in such superb fashion that any theatre-goer will not be disappointed.
See this unusual show and relish in something you're not likely to see again as Edward Scissorhands plays through March 11 h at the Fabulous Fox.
Four Stars * * * *
The stage production of Edward Scissorhands now gracing the wide expanses of The Fox through March 11 is a product of British director and choreographer Matthew Bourne. Bourne is an artisitic innovator in the world of dance, always very respectful of his craft and a man who believes that music can be a cure for many of the ills of mind and body.
His signature presentation of Edward Scissorhands is a gorgeous valentine to Tim Burton's popular film from 1990. It is a mesmerizing presentation without spoken words that still expresses itself wonderfully as a beautiful, evocative production full of heart and emotion.
The dance company in this show of some 30 performers is lead by principal dancers Sam Archer and Richard Winsor, who are the only two performers to do the role of Edward Scissorhands since the show opened in London in 2005.
The show's music is lush a recorded soundtrack that includes themes from the original motion picture by Danny Elfman. Edward Scissorhands is the fable of a grieving father who makes up for the loss of his young son by inventing a new little boy. When the father dies before the new boy is finished, his fabricated offspring is left with scissors for fingers and hands. The show is the story of the boy's assimilation into suburbia, and his trials with being "different." Edward Scissorhands is a classic storybook tale about hardship, love, loss and destiny that will touch almost everyone who sees it. It will also relate to most of us in a very special way.
This is not classic American musical theater. It is the end product of a vision executed by Matthew Bourne that is as exquisite as it is brave. Production design and staging is a perfect conjuring match. My recommendation is to see Edward Scissorhands with an open mind and an open heart, and let it take you to a space and place you have never been.
Matthew Bourne directed and choreographed the fairy tale of the boy who is born a natural at hair-cutting and topiary, with Terry Davies composing music to expand on Danny Elfman's movie themes. Unfortunately, the music at the Fox is canned. Lez Brotherston's set and costumes are delightful, with a set that mimics the highway view of South San Francisco, with little boxes made of colorful ticky-tacky on the hillside.
A variety of music and dance styles highlight the story of the lonely boy and his futile attempts to connect with neighbors and schoolmates. There's jazz, and ballads, and soft rock, with a variety of choreography to match and a skilled company. The cast changes often, but opening night was led by Richard Winsor, who resembles Robin Williams, in the title role, and Hannah Vassallo as the preppy, peppy blonde he falls for. James Leece, dark and dashing, is his rival for her affections.
Scott Ambler and Steve Kirkham stand out as neighbors who exercise together, and Kirkham has other problems, like keeping his eye on his wife, played by Michela Meazza as a red-haired suburban sex-pot who dallies with practically every male in the neighborhood. Bourne's choreography is especially effective when the families go out for a Sunday drive, or attend a barbecue around a swimming pool, where Edward's hands make terrific skewers to hold the hot dogs.
Tragedy, perhaps, but much charm along the way in Edward Scissorhands , a dancing delight.