Matthew Bourne is a canny operator when it comes to choosing titles and concepts with instant appeal, but his stage version of Tim Burton’s film isn’t just shrewd marketing – it is a perfect fit with his own sensibilities as a choreographer. There’s the outsider status of the central figure, the pastel-perfect (or is it?) 1950s suburban setting, the comic book-style exaggeration of plot and characters. It’s a warmly entertaining watch with a bittersweet thread running through.
Bourne created this version back in 2005 and it was last revived nine years ago. Tonight, Liam Mower plays the tragic Edward, left with scissors for digits when his Dr Frankenstein-esque father/creator dies before completing him. Mower nails the stilted walk you will recognise from Johnny Depp’s portrayal in the film, as well as Edward’s perplexed, pained expressions. We see his growing confidence as he is embraced by the community who love his way with a fistful of shears, snipping away at wild haircuts, dogs’ coats and dancing topiary.
On to the stage floods a colourful cast, full of cheer and vim, an array of archetypes and eccentrics: the jock, the cheerleader, the goth, the nerd. The political power couple, the severe, joyless Reverend, plus an added gay couple with a baby for this version. Nicole Kabera sizzles as the neighbourhood siren, with an unrecognisable and very funny Luke Murphy as her clueless husband.
Edward’s name is in the title but this is a real ensemble show, and there is much pleasure in all the little side stories and exchanges playing out amid slickly choreographed numbers. Everyone is switched on, including new young cast members who have come up through Bourne’s company New Adventures’ own development programmes. Note the bright energy of Xavier Andriambolanoro Sotiya, and Lyra Treglown, never slacking from her Wednesday Addams-ish character, perpetually pulling a face.
The central love story may not be as tearjerking as the film, but music from Danny Elfman’s score brings some cinematic magic and the jokes keep coming, offset by some genuinely touching moments, especially the tenderness of our lost boy’s first meeting with kind Mrs Boggs (Kerry Biggin), her touch on his face igniting something human.
At Sadler’s Wells, London, until 20 January. Then touring until 2 June
