Review: SCISSORHANDZ: A MUSICAL REINVENTED, Southwark Playhouse Elephant
The jukebox musical parody Tim Burton's classic makes its UK premiere
Southwark Playhouse has become the hub for new original work such as West End hits Operation Mincemeat and The Curious Case of Benjamin Button. Now it becomes a platform for cult jukebox musical hit Scissorhandz - A Musical Reinvented as it moves from America's west coast to London. Can the star power of producers Michelle Visage and Lance Bass assure us that it's a cut above the rest?
Tim Burton's gothic fairytale has an enduring legacy for ‘beautiful weirdos’, and it's easy to see why writer-director Bradley Bredeweg would approach the material from an LGBTQIA+ lens. After all, the title character and conservative suburban environment he's ultimately shunned by are an easy metaphor for any marginalised group perceived as different.
While sincere in its message and delightfully camp, the execution of Scissorhandz’s non-binary identity doesn't feel fully realised and as a result comes across as shoehorned. There are references to having surgery to correct Scissorhandz's hands which they're defiantly against and their pronouns in an emotional climax, but they don't feel organically integrated into the narrative.
Part parody, part straight up retelling, what makes Scissorhandz fall apart story-wise is its lack of identity. Unlike the similar screen to stage musical parody Titanique that treats the James Cameron film like a drunken watch party with friends throughout its run time, Bredeweg's book wants its audience to laugh at campy caricatures and self-referential jokes one minute and treat scenes with utmost seriousness the next. This isn't to say they work on their own, but together it feels disconnected.
This similarly applies to the songs. Ranging from 80s glam rock to 2010s pop, it's an eclectic list of outsider anthems and drag hits. While offering a bombastic rock edge thanks to musical director Gregory Nabours, they lack a sense of cohesion. Some are inspired and embrace the camp like a riotous "Let's Have A Kiki" and Annabelle Terry's hail Mary Esmseralda's roof-raising "Heaven is A Place on Earth". Others feel like they were included based on a few lines of dialogue and could've been left out.
One thing you can't doubt is the effort put into the visuals. James Connelly's set adorned with amplifiers and Alex Jansen's projected animations pay tribute to Bo Welch's work for the film with a camp edge, complemented by Adam King's kalediscopic lighting. Abby Clarke's costumes adds an S&M edge to Scissorhandz's gear with a sense of familiarity, a perfect contrast to the Burtonville residents' ridiculously 50's-esque dresses and whacky hairstyles.
Jordan Kai Burnett, reprising their role from the Los Angeles production, is a confident lead as Scissorhandz. Far from Johnny Depp's quivering soft-spoken Edward, Burnett hypes up the audience with their scissor hands in the air to rock out as they narrate their tragic story. Emma Williams (Half A Sixpence), offers the most emotional arc and gorgeous vocals as mother figure Peg.
Among the trio of neighbours Tricia Adele-Turner (Stranger Things: The First Shadow) is a hoot as flirty Joyce while Ryan O'Connor offers up multiple roles including talk show host Delia Deetz, ad-libbing his way with the audience while avoiding the many critics with notepads at press night. Lauren Jones' love interest Kim has a reduced role yet showcases strong vocals for "Fighter". Dionne Gipson as a gender flipped Inventor is also a highlight showing off her powerhouse vocals in "Dream On".
Much like the Inventor creating the titular character, Scissorhandz - A Musical Reinvented has a lot to love but could do with some tinkering to fix its narrative issues. It's easy to understand its cult status and its cast pulls off the humour and plenty of panache. I just wish it felt more complete.
Scissorhandz - A Musical Reinvented runs at Southwark Playhouse Elephant until March 29.
Photo Credits: Danny Kaan
