THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
By Bradley Bredeweg
Southwark Playhouse Elephant, 1 Dante Place, London SE11 4RX until March 29, 2025
The musical Scissorhandz, now at the Southwark Playhouse Theatre Elephant London, has shimmied its way over from Los Angeles with cultivations and reinventions including the title, which was originally Scissorhands. Losing the S for a Z seemed unnecessary and in fact, set the tone for other substitutions in the show including the character of Scissorhandz presenting as non-binary. It is true that Americans bring an undeniable and palpable optimism and sense of event as if to say, Lets Go!
The question is, what tweakments, changes or adjustments does a musical need to enchant a London audience?
Predictably, this recreation of Tim Burton's 1990 movie to be set for stage in London was going to be fairy dusted, glittered and with many camp, hammy sets and scenes. The idea seemed to be to make you feel good about yourself no matter your differences or worries, très American. It was written and directed by Bradley Bredeweg, who was in the audience – very chic in bejeweled and studded couture and sat front and center on a love seat where characters often plopped down on laps during scenes. The show was co-produced by Lance Bass from the boy band NSYNC and Michelle Visage from Rupaul's Drag Race who was also in the audience. The original film evenly combined comedic moments with emotional awakening. This musical production tries to deliver a message emphasizing that it's good to be different. It's a far departure from Johnny Depp and Winona Ryder's romantic, gothic story. As the strap line says, it's 'a musical reinvented.'
It's interspersed with pop ballads. Tom Jones' 'With These Hands' is relevant, Tom Cochrane's 'Life Is A Highway', not relevant. A moody version of 'Mad World' by Tears For Fears held water, The Cranberries' 'Zombie' and 'Creep' by Radiohead impressed and the sound design was boldly substantial for a boutique theater. You feel compelled to sing along and there's a definite immersive interaction, with characters regularly breaking the fourth wall, inviting the audience inside. Emma Williams plays Peg, mother to daughter Kim and foster mom to Scissorhandz, rescuing the orphan and warmly opening up her home. She brings a strongly developed character and an unwavering voice. Another mother superior is Scissorhandz's inventor, played by an American from Atlanta, Georgia, Dionne Gipson who bookends Emma Williams with a sincerely powerful and genuine voice. The intimate staging, around 280 seats, allows for the cast's harmonies to ring out. The ensemble dynamic was an 11, and most inspiriting. The leather clad Yue Miyagi, on guitar accompaniment, is a uber talent and like the whole cast, you could tell they were having a lot of fun, with shenanigans on and behind stage.
Do we need to think about what the play is about? Is it a love story, or is it about prioritizing acceptance, putting family first or the shallowness of beauty and vanity? Or does it really matter? If you just want to be entertained for an hour and 40 minutes, without a break, with hammy innuendos and double entendres then get your tickets. Sometimes you just need to laugh.
