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And that is, perhaps, the key to both Burton and Bourne's story-telling - we must all at some point have been an outsider, someone confronted with a strange world, strange people - and to that end we each recognise a human story within this fable and one that, like most faerie-tales, teaches us a little about ourselves. Indeed there is something so strangely human in this alien creature who intrudes into a world of front and façade that one cannot help but be drawn to, and empathise with him.
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Dominic North's portrayal of the title character stands out as a complete physical performance that is evocative, emotional and ultimately pure and free from the social constraints expressed by the other characters. It is through "Edward" that the audience engage with the world that is presented. The entire company of dancers is superb and each express individuality within their parts although stand-out roles include Saranne Curtin as "Joyce Monroe" who, with the slightest move, is excellently saucy and seductive compared to the perfect innocence and grace of Ashley Shaw's "Kim". But the "Edward" here is also a figure ahead of his time with his talents producing hairstyles more appropriate to the 1980s than the 1950s.Ĭontrasting his alien nature to the small-town residents, "Edward" is usually danced in a more classical, balletic style compared to the more modern dance forms performed by the rest of the Bourne's various motifs aid in creating crisp characterisations and he creates a more human "Edward" whose ego is vulnerable to fame and success thus making his fall from grace all the more tragic. Indeed, this take on "Edward" is the most human character we see onstage.
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The detail which Bourne instils into the production, from the everyday goings-on of small-town America to the topiary sequences, helps make the production a complete piece of theatre. His choreography is organic to the characters and the situations in which they find themselves, all of which serve the plot, and is of an almost natural style with motifs seeming to come out of the everyday whilst Bourne's direction is both broad, detailed and abstract but always fluid (despite a small technical glitch in act II which put a temporary halt to proceedings).