[an error occurred while processing this directive]
BBC News
watch One-Minute World News
Last Updated: Monday, 28 November 2005, 08:08 GMT
Your questions: Matthew Bourne
Matthew Bourne by  Hugo Glendinning
Matthew Bourne has won many awards and has been made an OBE
Celebrated choreographer Matthew Bourne is most famous for his radical version of Swan Lake with its corps of male swans. Now he answers your questions on his new show Edward Scissorhands, which receives its official premiere in London on Wednesday.

Question: How difficult did you find it adapting the character and nature of Edward seen in the film to the stage, without making him seem too fluid/human?
Liam Chandler, Slough

Bourne: Edward's costume, which is heavy, tight and made out of leather, helped enormously in the characterisation. Sam Archer and Richard Winsor (the actors who share the role) initially found moving in the suit quite hard, which helped them retain the rather strange unnatural way of moving and walking he has.

Question: Is there any part of the Edward Scissorhands production that you're particularly proud of and would encourage audiences to take special notice of?
Emma Hill-Lonergan, Essex

Bourne: Look out for the dancing topiary!

Question: If you could have chosen any dancer, living or dead, to fulfil the role of Edward who would it be and why?
Jemma Davidson, Hull

Bourne: I find it hard to imagine anyone but Sam and Richard performing the part at the moment. The role reminds me of Petrushka, so Nijinsky is always on my dancer wish list.

Question: Why did you choose to choreograph Edward Scissorhands? What appeals to you about the story and did you collaborate with Tim Burton?
Charlotte Price, Bridgend, Mid Glamorgan

Sam Archer as Edward Scissorhands
Sam Archer (pictured) and Richard Winsor will share the title role

Bourne: I chose Edward Scissorhands almost by chance. I was asked which 10 films would make a good stage show and this was the first one that came into my head. That was about seven years ago.

I love Tim Burton's film and the story has many wonderful characters, all of whom I thought would work well in dance. The character of Edward is almost silent in the film so I thought it was a natural for my work. I did meet Tim Burton who has been very kind and generous in giving me the rights for this. But he has not been involved in the making of the show. He is coming to see it, though.

Question: What inspires you when you're creating a show and what other challenges and ambitions would you like to achieve?
Ian Hughes, Glasgow

Bourne: Music and stories are always what inspire me. I would love to make a film without words one day - a return to silent movies? Also a smaller, more adult dance show.

Question: When do you plan to tour in Japan? What theatre do you plan to use in Tokyo? Shibuya City, especially the Theatre Cocoon, must be the best for this play.
H Sekiguchi, Tokyo

Bourne: We are coming to Tokyo in August next year, I think. The Theatre Cocoon would be too small for Edward as it is a very large show. I am not sure which theatre we will be at - keep checking the website www.new-adventures.net for updates.

Question: Do you ever come up with your own stimulus when it comes to creating a choreographed piece? I have not yet heard of a piece that wasn't someone else's work beforehand.
Toria John, Liskeard, Cornwall

Bourne: If you delve deep enough, every piece of work - be it film, dance, theatre, art - has its inspiration rooted elsewhere. Some artists are more cagey about their inspirations. It's true many of my works are based on famous ballets or films, etc. My last piece, Play Without Words, was an original work but was based on a film called The Servant and many other films of the mid-60s.

Question: Could a narrative which played itself very well between the constructs of music and expression (as in pure acting) find itself particularly troubled this time by the changeover to an arguably less well-defined dialectic: music and its physical (this time dance) expression? After all, Edward Scissorhands always has felt like its fragile balance was its main strength. Is it then possible to capture this by changing a main component?
Jodi Johnson, Oxford

Bourne: Blimey - tough question! I have been making this kind of work for years so I believe that it can be done. I think our version works and that the characters retain their central traits and that we have added our own feeling and ideas to the piece as well. But I guess you will have to make your own mind up when you come to see it.

Question: Will the show run in other countries?
Anna, Lakefield, Canada

Bourne: We will tour to Korea and Japan next year and hope to visit the US in 2007.


SEE ALSO
UK premiere for Corpse Bride film
18 Oct 05 |  Entertainment
Musicians condemn Bourne ballet
05 Jan 05 |  Entertainment

RELATED BBC LINKS

RELATED INTERNET LINKS
The BBC is not responsible for the content of external internet sites



FEATURES, VIEWS, ANALYSIS
Has China's housing bubble burst?
How the world's oldest clove tree defied an empire
Why Royal Ballet principal Sergei Polunin quit

PRODUCTS & SERVICES

Americas Africa Europe Middle East South Asia Asia Pacific