Scottish dancer Matthew Malthouse has come a long way since his days playing Pinocchio in local productions. On the eve of his starring in Matthew Bourne’s massive new production of Edward Scissorhands I sat down to ask him about stepping into the shoes (and hands) of Johnny Depp’s iconic outcast.
What was it like growing up as a dancer? When did you first realize you wanted to dance?
Being a dancing boy, growing up in Glasgow is never the easiest. You get all the expected name calling and teasing. Luckily for me I am a huge football fan and that seemed to win them over. I started dancing aged 8. I saw Michael Jackson's Smooth Criminal video and was mesmerized by the leaning dancers and the way they moved. I asked Mum to let me go to dance lessons. At first she thought it was just a phase and didn't take me, but after some serious nagging she gave in.
What's your working relationship like with Matthew Bourne?
We have an excellent relationship. He is such a humble relaxed man that he creates this relaxed working environment which helps you to be more creative. He also likes you to experiment with different ideas and listens to your suggestions. This is great as a performer.
How did you prepare for the role of Edward Scissorhands?
I also studied silent movie stars like Charlie Chaplin and Buster Keaton as they had this incredible physical ability to create comedy and story through their bodies. I also watched the movie loads. Johnny Depp is amazing in that movie although it scared and helped me in equal measures.
Were you a fan of the film before starting this production?
I love the film, its beautifully filmed and the performances are all great. I just love the character of Edward. You can't help but feel for him. It's a traditional love story with a twist.
I've heard the production described as a combination of a ballet and musical. Does the need to portray a character affect how you dance?
If you’re playing a character you need to change the way you move because if Edward suddenly became Nureyev it would detract from the scenes. For Edward the process is made slightly easier because the hands prevent you from dancing normally. Moves such pas de deux [partner dancing] are changed because you can't do any normal lifts without hands so you are forced to move in a different way.
The centre piece of the production is absolutely the Edward costume itself. Not only is it stylistically demanding, but physically as well. Assisting you into it costume for each performance requires three people and the scissored hand pieces alone weigh as much bags of flour. Was it challenging to dance with those restrictions?
The weight of the costume isn't the biggest issue as your muscles get used to it and get stronger. The main problem is the increased wing span when you extend your arms, as it pulls your weight all over the place and any mistake can lance a cast member.
What's your dream role as a dancer?
It doesn't get much better than this! Playing Edward is more than I could have wished for. I think it's a great show, playing wonderful theatres. I am very fortunate to get this opportunity. If I was to get greedy, though, Cosmo in Singing in the Rain would be a dream.
Edward Scissorhands opens on May 29th at the Sydney Opera House and tours nationally later in the year. |