What really bugs critics about Matthew Bourne.

Arts, entertainment, and more.
April 4 2007 4:16 PM

Bourne, Again

What really bugs critics about the world's most successful choreographer.

Matthew Bourne. Click image to expand.
Matthew Bourne and Richard Winsor promote the musical version of Edward Scissorhands

Matthew Bourne, as you may have heard, is the most successful choreographer alive. His shows break box-office records and reach an audience much larger and wider than is usual for dance. Accordingly, each new endeavor—like the current North American tour of his version of Edward Scissorhands, which left Brooklyn on Sunday to head for Toronto and points west—occasions a deluge of articles and reviews. Read a few, and an uncomfortable fact becomes clear: The least interesting thing about this most successful of choreographers is his choreography.

This is sometimes expressed damningly ("He has made modern dance marketable by taking out the dance"). It is sometimes offered in admiration, as evidence of his properly populist attitudes ("He cares about story, not steps"). More often, it is admitted parenthetically, to offset praise of Bourne's almost universally recognized gifts as a storyteller. This dichotomy between steps and story is misleading, though. For Bourne's essential strength and weakness as both a dance-maker and a storyteller are one and the same. He's a recycler, a master manipulator of the familiar.


The chief complaint against Bourne's choreography is that it lacks invention. He has no signature voice, people say, no personal vocabulary of movement—what normally distinguishes a great choreographer. This much is true, but what Bourne has instead is a wide knowledge of dance, a strong memory, and an uncommon deftness in sampling eclectically in order to achieve the effects he wants.

That Bourne's stories are also recycled is common knowledge. But it's not just that his signature method has been to re-imagine classic ballets, operas, and films. It's that his re-imaginings are themselves derivative: his Nutcracker set in a Dickensian orphanage, his Carmen transplanted to the noir America of The Postman Always Rings Twice. The guiding concepts are as easy to grasp as movie pitches; La Sylphide meets Trainspotting gets you Bourne's Highland Fling.

Such mash-ups can, on occasion, produce something original, the correspondences and updatings giving old works new life. Bourne's have—to varying degrees—been successful on this front, and in recent interviews, he has been at pains to distinguish his shows from the movie adaptations currently favored by timid theatrical producers (the adaptations, as he put it to Newsday, for which "familiarity sells tickets"). He's right to stress that his version of Edward Scissorhands is not an exact copy of the original. Nobody talks, for one thing, and the climax-generating crisis is different (and weaker). But in terms of Bourne's overall approach, the most telling change might be a small one, a shift from the ambiguous time period of the film to an iconic 1950s suburbia. Bourne has said that his original British audiences needed a world they could recognize more readily.

This shift toward the familiar is typical. Bourne tells stories that people already know, but even those who aren't acquainted with the plot can follow along easily. That they can is a testament to his expert staging, but also to his canny use of stereotypes. His characters, drawn so sharply that each idiosyncrasy is legible from the back of the theater, are caricatures. (Scissorhands has a desperate housewife, a fatuous mayor, an Edward Gorey-style evangelical family.) Their pantomimed actions and attitudes are immediately comprehensible because they're familiar. We've seen people behave that way before—not in life but in the movies, on TV.

Bourne sees his recycling as part of a quest for timeless narratives. He has said that Edward Scissorhands appealed to him because he saw in it a modern fable—something like Pinocchio, like Beauty and the Beast. His remakes aren't Disneyfied, despite his work on the current Broadway production of Mary Poppins. They're usually darker and more sexually explicit than the originals (though his Scissorhands isn't). But he picks his stories for their themes, and his favorite word to describe them is "universal."



Talking White

Black people’s disdain for “proper English” and academic achievement is a myth.

Hong Kong’s Protesters Are Ridiculously Polite. That’s What Scares Beijing So Much.

The One Fact About Ebola That Should Calm You: It Spreads Slowly

Operation Backbone

How White Boy Rick, a legendary Detroit cocaine dealer, helped the FBI uncover brazen police corruption.

A Jaw-Dropping Political Ad Aimed at Young Women, Apparently

The XX Factor
Oct. 1 2014 4:05 PM Today in GOP Outreach to Women: You Broads Like Wedding Dresses, Right?

How Even an Old Hipster Can Age Gracefully

On their new albums, Leonard Cohen, Robert Plant, and Loudon Wainwright III show three ways.

How Tattoo Parlors Became the Barber Shops of Hipster Neighborhoods

This Gargantuan Wind Farm in Wyoming Would Be the Hoover Dam of the 21st Century

Oct. 1 2014 8:34 AM This Gargantuan Wind Farm in Wyoming Would Be the Hoover Dam of the 21st Century To undertake a massively ambitious energy project, you don’t need the government anymore.
  News & Politics
Oct. 1 2014 7:26 PM Talking White Black people’s disdain for “proper English” and academic achievement is a myth.
Buy a Small Business
Oct. 1 2014 11:48 PM Inking the Deal Why tattoo parlors are a great small-business bet.
Oct. 1 2014 6:02 PM Facebook Relaxes Its “Real Name” Policy; Drag Queens Celebrate
  Double X
The XX Factor
Oct. 1 2014 5:11 PM Celebrity Feminist Identification Has Reached Peak Meaninglessness
  Slate Plus
Behind the Scenes
Oct. 1 2014 3:24 PM Revelry (and Business) at Mohonk Photos and highlights from Slate’s annual retreat.
Brow Beat
Oct. 1 2014 9:39 PM Tom Cruise Dies Over and Over Again in This Edge of Tomorrow Supercut
Future Tense
Oct. 1 2014 6:59 PM EU’s Next Digital Commissioner Thinks Keeping Nude Celeb Photos in the Cloud Is “Stupid”
  Health & Science
Oct. 1 2014 4:03 PM Does the Earth Really Have a “Hum”? Yes, but probably not the one you’re thinking.
Sports Nut
Oct. 1 2014 5:19 PM Bunt-a-Palooza! How bad was the Kansas City Royals’ bunt-all-the-time strategy in the American League wild-card game?