[CD liner notes: Edward Scissorhands [ballet]]
EDWARD SCISSORHANDS
2005 London Stage Premiere Recording
First Night Records CAST CD96
Published 2006, Exshallow Ltd.
1. Prologue *
2. Creating a boy
3. Trick or treat
4. The suburban ballet *
5. Meet the Boggs
6. Edward explores
7. A portrait of Kim
8. Edward meets the world
9. Gossip
10. The Evercreech family
11. The Boggs barbeque
12. Kim and Jim
13. Mad mambo
14. Topiary garden *
15. Edwardo the barber *
16. Joyce entertains
17. Christmas in Hope Springs
18. Ice dance *
19. New best friend / Christmas ball
20. Edward's party piece
21. The Hope Springs swing
22. Edward accused
23. Farewell duet *
24. Epilogue *
Total duration: 1:05'58"
* Includes themes from the motion picture Edward Scissorhands by Danny Elfman
Although the liner notes credit Terry Davies as composer, with
some of the music based on themes from the film score by Danny Elfman, the reality
is that there are certain scenes (or cues) where Elfman's music is arranged
and slightly adapted for the ballet, but is otherwise very recognizable. In
fact, the ensemble on this disc sounds much fuller and less synth-heavy than
what I remember going to see the production at the Sadler's Wells in London,
and there are even live voices used (which are not credited on disc and were
certainly not used for the show), so the differences are still further minimised
here. This means that whereas Bourne has used Tim Burton's film as both vision
and structure for his ballet, Davies employs Elfman's music in specific iconic
scenes, and then relinquishes all influence in favour of a variety of styles
covering each scene: big band jazz, Latin American, and popular dances from
the 1920s to 1950s. Although the range itself is a clever idea, giving Bourne
a variety of avenues, the music itself is, though solid, invariably forgettable,
and when Elfman's music returns your really know it. Daviesoccasionally strays
into classical-sounding music, often mildly Russian in flavour, but for the
most part he prefers the dance since presumably it works best with Bourne's
planned choreography. I remember this being a problem for the ballet, in that
the slight plot was padded out so much with scenes where characters stopped
what they were doing and indulged in a quick swing round the stage, limiting
ballet steps and dramatics still further than previous productions (it seems
to be a trend or Bourne, and the dancers for the most part have minimal-to-no
strict ballet training).
Conducted by Brett Morris
Recorded: Angel Studios, London, 2006.7
Musicians: Violins (12), violas (4), cellos (3), double basses (2), guitar,
harp, flutes/recorders (2), clarinets/saxophones (4), bassoons (2), horns (2),
trumpets (3), trombones (2), keyboards (4), kit/percussion (1), percussion (3).
Edward Scissorhands Re-Bourne
Mark Shenton talks to Matthew Bourne about his long-gestating project to bring
Edward Scissorhands from the screen to the stage.
It was exactly ten years ago, on 9 November 1995, that Matthew Bourne's striking
version of Swan Lake received its world premiere at (the old) Sadler's Wells,
and was launched onto its worldwide journey that