Theatre review: Scissorhandz

Another day, another jukebox musical movie parody transfers from the US to London. And where I thought New York hit Titaníque's confidence in going straight for the West End was warranted, LA export Scissorhandz landing at the more modest Southwark Playhouse was probably also wise: Its underlying theme could not be more relevant to the current darkest timeline, but it's just a shame the creatives who came up with the idea couldn't follow through on its promise. Based, of course, on Tim Burton's 1990 suburban fairytale satire Edward Scissorhands - which has already inspired a Matthew Bourne ballet - Bradley Bredeweg's version ditches the "Edward" part to make Scissorhandz (understudy Lauren Jones) a non-binary humanoid creature, built by The Inventor (Dionne Gipson) out of various spare parts. But their mother dies before replacing the scissors with real hands, and Scissorhandz is left alone in her mansion/lab.

Theatre review:Joseph and the Amazing Technicolor Dreamcoat

The Rev. Dr Baron Dame Sir Andrew Lloyd Lord Webber BA (Hons) MEng, QC, MD, P.I. and Tim Rice’s Joseph and the Amazing Technicolor Dreamcoat was originally conceived as a show for schools but gradually grew, until in the 1990s it was finally fully reinvented as a big-budget West End behemoth – so successfully that the same Steven Pimlott production has kept returning to the stage for nearly thirty years. Laurence Connor’s is the first new take on the show since then, although the story – from an otherwise fairly obscure Genesis passage – remains familiar: Jacob has twelve sons, of whom Joseph is the clear favourite and showered with gifts, because Jacob liked Joseph’s mum more than the other sons’ mums. Joseph has the ability to interpret dreams but not the ability to read a room, so he cheerfully tells his already-alienated brothers that this unequal treatment is just the start, and he’s had a premonition that some day they’ll all fall at his feet.