Red Bus Londinium Life

Scissorhandz at the Southwark Playhouse presents a musical take on a much-loved story, raising the question of whether a tale that has already been so effectively told actually needs another re-invention. There are some real strengths and flair in this production but it felt muddled in what genre it was trying to be which lessened its impact .

For those of us whose childhood had its foundations on the nightmarish visions in Heinrich Hoffman’s Struwwelpeter, Tim Burton‘s 1990 cult classic film Edward Scissorhands felt a more cosy and suburban version. Yes, the scissor-hands were still there but the terrifying moral element of punishment was gone. Instead, Burton captured the restrictions and isolation brought by social conformity. Reinvented again, in the perennially popular ballet version of Matthew Bourne, this is a story that chimes with audiences: the outsider looking in on a community not yet ready for someone different.

After previous performances in Los Angeles and co-produced by Michelle Visage and ‘NSync’s Lance Bass, this Scissorhandz has remarkable performer Jordan Kai Burnett at its centre. Burnett has brought the part from LA and their performance is compelling – from belting out classic 90s and 00s hits to a tender ingenue style wonder at meeting a world new to them.

The wider cast is strong with rousing bible basher Annabella Terry, in particular, one to watch. Her “Heaven Is a Place on Earth” was a highlight. Ryan O’Connor, who also originated his parts in LA, performs with flair but his roles add a sense of ambiguity about whether this is, in fact, a parody rather than something more empathetic.

The explicit spelling out of Scissorhandz being a them (and not a he or she) felt unnecessary. This fact had already been touchingly portrayed throughout the show and the audience were already fully accepting. Besides, most people don’t pause to define the gender of a lost child before they go urgently looking for them!

The music was always well-performed and classic camp hits such as “Let’s Have A Kiki” brought wide smiles to the audience. The use of instrumental pieces from the Scissorhands film score helped connect this show with its forerunners. That said, not all the songs seemed to fit their place in the narrative.

The use of the ensemble fluttering fans to give a sense of items being cut was very effective. The set was also impressive, however it was very imposing for a small space so perhaps a slimmed down version may have added flexibility. An extra AA row has been added which further cramped the stage.

There is a lot to admire here but it did not yet feel entirely pulled together. Some sharper decisions about which songs to use, when and why, might transform this into something truly worthy of its forebears.