We all endeavour to carve out a place for ourselves in the world and Matthew Bourne’s Edward Scissorhands reminds us that Bourne has most certainly found his place as a dance maker.
Matthew Bourne is renowned for his bold adaptations of classical ballets including Nutcracker, Swan Lake and Sleeping Beauty. The clever re-writes reveal previously unexplored elements of well-loved stories and his company, New Adventures, impressively engages audiences through innovative contemporary dance. As a dedicated balletomane, I have found Bourne’s inventive interpretations deliciously refreshing so I expected Edward Scissorhands (a work that does not exist in the classical ballet repertoire) to be similarly “cutting-edge”.
Happily, opening night was a “shear” delight, with Bourne proving once again how sharply attuned he is to theatregoers’ predilection for quirky stories told well. Based on Tim Burton’s 1990 fantasy film, Edward Scissorhands is the touching tale of a boy created by a bereaved father. In Bourne’s dark prologue, we learn that the late Edward was a young boy who was struck dead by lightning while playing with scissors. His grieving father becomes determined to bring his son back to life and sets to work producing an artificial being. Unfortunately, the eccentric creator is frightened to death by Halloween trick-or-treaters, leaving Edward alone and unfinished – with scissor blades for hands.
The simple – admittedly, surreal – narrative follows isolated Edward’s attempts to fit into 1950s suburban America. Bourne excels at creating characters and the production certainly delivers razor-sharp character-driven dance-drama.
Choreographer Matthew Bourne is renowned for his cutting-edge productions and sharp wit so his adaptation of Edward Scissorhands is sure to pierce hearts when it visits Milton Keynes Theatre from Tuesday.
Edward Scissorhands, the touching tale of the boy with a full set of paper-cutters on the end of each arm, was first premiered by Bourne’s company, New Adventures, in 2005. Since then, the production has carved a place in the hearts of thousands across the world, enjoying sell-out performances in Europe, America, Asia and Australia.
This spectacular modern fairy tale has now returned to the UK in its first major revival and, after seasonal success at Sadler’s Wells over Christmas, the show is stopping off in the new city to give theatregoers here a slice of the cleverly-choreographed action. Blending contemporary dance with drama, Bourne’s work has widespread appeal and Lez Brotherston’s stunning sets always add to the theatrical magic.
Dancer Tim Hodges has featured in pop videos, performed in the West End, and toured the UK and beyond in hit musicals.
Currently cast in Matthew Bourne’s production of Edward Scissorhands, Tim found time between rehearsals to talk to Georgina Butler about how this witty, modern fairy tale carves a place in audiences’ hearts.
Inspired to pursue dance professionally after seeing videos of Mikhail Baryshnikov, Tim Hodges began dancing as a youngster in Milton Keynes at the Woollard Tiffin School of Performing Arts before winning a place at Tring Park.
Now, aged 29 and starting to inspire the next generation of dancers through his own teaching, Tim Hodges is thrilled to be touring the United Kingdom as part of Matthew Bourne’s company, New Adventures, in Edward Scissorhands.
I spoke to Tim before he attended today’s class and afternoon rehearsals to learn more about his life as a dancer and quiz him on what makes this Bourne show “a cut above” the rest.
A flock of muscular, lyrical, completely masculine creatures took to the stage at Milton Keynes Theatre last night in Matthew Bourne’s Swan Lake, a contemporary re-imagining of an iconic ballet.
Bourne’s Swan Lake is an original take on an age-old favourite. His cheeky re-write ruffled a few feathers among balletomanes when first performed in 1995 but has since collected over thirty international theatre awards and is now regarded as a modern classic.
Traditionally, the ballet is associated with tutu-clad female corps de ballet dancers gliding gracefully en pointe in carefully coordinated formations. Bourne replaces these bourréeing beauties with an ensemble of powerful, bare-chested, male dancers decked out in baggy, feathered, knee-length trousers and shuns the standard prince-and-princess pas de deux for a duet between two male performers.
“It was 1963, when everybody called me Baby and it didn’t occur to me to mind,” says Frances “Baby” Houseman as the auditorium lights go down and the curtain goes up on Dirty Dancing at Milton Keynes Theatre.
Brought to the stage and now touring after a fabulously successful run at the Aldwych Theatre in London’s West End, the blockbuster 1987 dance film is a firm favourite among women of all ages.
Tickets to this coveted show were the perfect birthday treat. When my mum and I queued to enter the auditorium, it was clear that the audience was largely made up of groups of eager women. These same women would later squeal with excitement when the male lead uttered that immortal line: “Nobody puts Baby in the corner”.