[Concert programme: Edward Scissorhands [ballet]]

Sadler's Wells, London, 2005.11.20
Source: Excerpts from Bluntinstrument's copy of the programme
Scan: front cover, 79kb
Devised, directed and choreographed by ... Matthew Bourne
New music and arrangements by ... Terry Davies
Based on themes from the original motion picture score composed by ... Danny Elfman
Based on the original motion picture by arrangement with ... 20th Century Fox
Original story and motion picture directed by ... Tim Burton
Original screenplay story and co-adaptation by ... Caroline Thompson
Designed by ... Lez Brotherston
Lighting designed by ... Howard Harrison
Sound designed by ... Paul Groothuis

Dear Friends,

A very warm welcome to this performance of EDWARD SCISSORHANDS at Sadler's Wells.
It has been a dream of mine to present Edward Scissorhands on stage ever since I first saw Tim Burton's wonderful film in 1990. The show has been in development, on and off, for over seven years so it is thrilling now to finally be able to realise that dream. Indeed, were it not for the generous support and encouragement of Edward's original creators, Tim Burton, Danny Elfman and Caroline Thompson, I might have given up hope long ago of ever bringing him to life on stage. I have been overwhelmed by the kindness and trust they have show in handling over what I know is a very personal and beloved project for each of them. I only hope that we have done theatrical justice to the spirit of their unique cinematic vision.
I am also blessed to be working, once again, with a brilliant creative team of long term collaborators led by Lez Brotherston, Terry Davies, Howard Harrison and Paul Groothuis. I would also like to add my special thanks to my Associate Directors. Not only does this show celebrate 15 happy years of collaboration with Scott Ambler and Etta Murfitt, they also get to play husband and wife, which is only fitting!
For Edward Scissorhands, I have assembled what I feel is a tremendous cast of New Adventures company members both old and new. I am, as always, extremely grateful for all their creative contributions and for supporting their increasingly stressed and neurotic Director throughout the birth of his new 'baby'.
Since its launch three years ago, my company, New Adventures, has had an incredibly busy time with four major shows touring throughout the world (Nutcracker!, Play Without Words, Swan Lake and Highland Fling). I take great pride in out extensive touring programme, growing audiences and the fact that we have given employment to over 100 dancers in that time! For this, and so much more, I have to thank my co-director at New Adventures, Robert Noble. To streer Edward Scissorhands to the stage, Robert and I have the great good fortune to be working with marin McCallum and marc Platt as our co-producers and HoriPro Inc and TV Tokyo as our partners in Japan.
Lastly, what a delight to be back at Sadler's Wells for our fourth Christmas Season in a row. Alistair Spalding has made Sadler's Wells into one of the hippest, most happening places in London. As a newly appointed Associate Artist of the theatre, I am proud to present my work here as part of such music and theatre. I feel that Sadler's Wells has become the first real London home for my company, I'd like to thank Alistair and the Board for making this possible.
Our audience is very important to us at New Adventures, as is out Friends organisation who so generously contributed to the costs of the summer workshop for the production. Thank you all for your continued support and for keeping out unique brand of dance theatre alive.
Enjoy the show!
Best wishes,
[Matthew Bourne]

Terry Davies
New Music and Arrangements

Terry Davies has worked widely in theatre, film and television. He has worked regularly at the National Theatre since co-orchestrating the multi-award winning Guys and Dolls in 1982. His 31 productions there as composer, orchestrator or music director include Edmond, Scenes From the Big Picture, Luther, Lady in the Dark and The Rise and Fall of Little Voice.
His many other theatre credits include: Days of Wine and Roses (Donmar Warehouse), Honeymoon Suite (Royal Court), Sexual Perversity in Chicago (Comedy), The York Realist by Peter Gill (Royal Court and Strand) and Shakespeare productions at the RSC and Regent's Park's Open Air Theatre. Terry also wrote songs for the RSC's Alice in Wonderland.
In the recording studio he has conducted or orchestrated the music for 29 feature films, amongst these: Lassie, Kinky Boots, The lawless Heart and House of Mirth. He conducted Renée Fleming in Verdi and Bellini for AMidsummer Night's Dream and conducted some of Stephen Warbeck's Academy Award winning score for Shakespeare in Love. The film Vanity Fair features Terry's dance music and he wrote music for live performance with Man Yay's 1927 silent film Les Mystéres du Château de Dé.
Original music for television includes: adapting his score for The Car Man and writing the songs for Tipping the Velvet, gaining a BAFTA nomination. He has conducted the music for a large number of TV dramas and documentaries including BAFTA and EMMY winning scores.
Edward Scissorhands is Terry Davies' third collaboration with Matthew Bourne following The Car Man and Play Without Words for which they shared the 2003 Olivier Award for best Entertainment. Details, along with projects and a discography, can be found at www.terrydavies.com.

The Story of Edward Scissorhands

Creating a boy
Trick or treat
The suburban ballet - Family values
A new home
A portrait of Kim
The Boggs' barbecue
Topiary garden
Edwardo the barber
Helping Joyce
Christmas in Hope Springs
Ice dance
New best friend?
The annual Christmas ball

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
[this entry is not complete: much text is omitted]
As boundaries have been crashing down between the various live art genres, Bourne's work has been at the vangard of bringing in a new audience to a different type of work: "The one thing I don;t mind boasting about is the fact our audiences have genuinely grown." That's despite the fact that it's not easily categorisable. When choreographer Susan Stroman took a dance show to Broadway called Contact, it became labelled a "dansical". And the current trend to adapt movies as musicals, such as Chitty Chitty Bang Bang, The Lion King, The Producers and Saturday Night Fever, amongst numerous others, has seen them dubbed "movicals". So could Edward Scissorhands perhaps be called a "movical dansical"?
Bourne laughs when I put it to him, and agrees, "It's funny trying to find a way to describe what I do; there was a time when i thought that it was simply musical theatre, really, because that's exactly what it is - it's music and theatre joined together. My work is completely led by music, and in fact more so than in some musicals unless they're sung-through, because the starting point is always the score."
In fact, the idea for a stage version of Edward Scissorhands was first born when the songwriting duo George Siles and Anthony Drewe (who recently provided the new songs for the stage version of Mary Poppins that Bourne co-directed and co-choreographed last year in the West End) approached him so see if he had any ideas for what could be turned into a musical at least seven years ago: "I wrote down about ten ideas, and the first one was Edward Scissorhands. And one of the reasons that it occurred to me was because it felt very musical, thanks to Danny Elfman's score."
It was a subsequent visit to Los Angeles that Bourne got to meet Elfman, as well as caroline Thompson who co-wrote the original screenplay to the film.
Though they both came onboard early, it was a far longer process to acquire the rights and bring it to the stage: "It's been delayed several times," admits Bourne, not least because of the changes in his own company and then again because of the West End launch of Mary Poppins. But it was also very important to honour Tim Burton's original vision: "It's a very personal project for him - so much of it comes directly from his own life. So he's never really given permission for it to be used in other ways, such as books or video games."
But in a remarkable act of creative trust, Burton - who now lives in London - has "more or less handed it over - he said it's your to do with as you wish, which was very generous."
Bourne has duly introduced a prologue: "I wanted to explain a bit more about why he was made, rather than just accepting that he was; and I suppose I try to apply a logic to the dance, too, as I always do. One of the tasks I have is always about how much dance I can get into it - how many reasons can i find to dance?"
According to designer and long-time collaborator Lez Brotherston, "We've tried really hard not to replicate the film. This isn't just about putting the film onstage. And he looks different: whereas edward in the film looks like a young Tim Burton, we're got a different look entirely. Instead of wearing Gothic black, his body is made by the inventor from different things around the house, like an old sofa - we've created an anatomical figure out of old brown leather that is stitched together."
Bourne's work, meanwhile, is stitched together from many sources. But his eye is always on the clarity of the storytelling: "You have to imagine the person sitting in the audience who knows nothing of dance or the film or anything about the story, but who can still follow it just by watching it." And ultimately too, "it's about trying to turn something that's a film into something that's essentially theatrical. It would be a mistake to simply recreate the special effects from the film; there are things you can do in theatre more simply that are much more magical."

Orchestral team:

Musical director ... Brett Morris
Associate Musical director ... Benjamin Pope
Third conductor ... Paul Hoskins
Keyboard Programmer ... Phij Adams
Music Copyist ... Colin Rae
Orchestral Management Consultants ... John Beadle, Andrew Bentley
Violin 1 ... Gina McCormack
Violin 2 ... Tim Warburton
[no viola]
Cello ... Andrew Fuller
[Double] Bass ... Lucy Hare
Flute ... Helen Keen
Clarinet ... Duncan Askby
Trumpet ... Daniel Newell
Percussion 1 ... Robert Kendell
Percussion 2 ... Stephen Gibson
Keyboards ... Alex Collinson, Bernard Robertson, Jonathan Taylor
Back to The Elfman Zone