Scissorhandz at Southwark Playhouse Elephant Review
The radical retelling of the gothic classic arrives in London
As one of the most influential gothic romances of all time, Edward Scissorhands has seen many an adaptation through the years from theatre to dance. Yet setting the iconic story against a jukebox of the dance floor might be a first - a concept now brought across the pond by co-producers Michelle Visage and Lance Bass, by the name of Scissorhandz.
Marketed as a ‘reinvented parody tribute’, it does not take long for the characteristic features of the show to shine through; initially opening at a pop-rock concert, the timeline is flashed back as the story is retold, many scenes resembling the original Tim Burton fantasy film, with the exception of a… well, different underscore - snipping away the haunting orchestral sound to reveal interwoven, modern pop hits - to which the audience resonates hugely with.
Though largely based on its screen counterpart, the way director Bradley Bredeweg’s version is approached could, intentional or otherwise, be occasionally abrupt; fusing scenes of serious dialogue with group choreography by Alexzandra Sarmiento spanning the length of the stage brings out the emotional quality of the source material, while scenes of satire (yes, a specific gardening scene was involved), at times not unlike slapstick, seems to suggest the resultant comedic contrast of an outsider experiencing so-called ‘urban life’ for the first time. When alternated one after the other - joined by sudden bursts into song like I’m Every Woman and Believer and even a moment of attempted audience interaction through stand-up - these individually, creatively stimulating ideas would benefit from further context to ease the storytelling flow.
However, it is the calibre in the talented company that fills the intimate performance space with heart and tangible connection with the audience. The cast of eleven takes on distinctly characterised (arguably stereotypical, in effective contrast to the titular character) roles. In particular there are charming, belt-heavy vocals from Dionne Gipson (as The Inventor, a guiding figure to Scissorhandz) and Lauren Jones (as the courageous Kim), with an antagonistic trio of hilarious impressions from Tricia Adele-Turner, Annabelle Terry and Ryan O’Connor.
Speaking of the show, Jordan Kai Burnett, who brings to life a wonderfully articulated leading role, noted the safe space it has created for people to be authentically themselves. This absolutely is reflected in the concept, and is one of the few instances where, while providing honest commentary to the success of the material, it is imperative (winks from a Wicked interview for those in the know) to emphasise on experiencing it for yourself; experimental concepts, as with all types of art, ultimately is subjective - but one thing the room shared is an atmosphere of pure, unapologetic joy.
Albeit structurally still a (highly able) work in progress, anyone who walks through those theatre doors is guaranteed a good time, celebrating difference and uniqueness at heart - with a mashup of head bops, theatrical references and a healthy dose of paper confetti, it's fun, camp and expressively queer - a warming night-out to pull through the winter months.
★ ★ ★
Scissorhandz plays at Southwark Playhouse Elephant until 29 Mar. For more information and to book tickets, visit the production website.
Tickets and Accessibility
🎟️ Tickets were kindly gifted by the press representative for the show. All views remain my own, without any input or approval from the producers or venue. Previews were flat priced at £20, with main run tickets increasing up to £40-45. Concessions are available at selected performances to Students, Under 16s, Over 65s, Unwaged and Access members.
♾️ The show involves heavy audience participation due to the size of the space. Moving and flashing lights were used and frequently point directly at the audience. Specific moments of note (with spoilers) are as follows: