It's not every actor who gets called the "sexiest young male dancer" - by Elle magazine no less. But Richard Winsor is equally comfortable performing in London's West End in groundbreaking musicals by Matthew Bourne or fashion shows put on by Alexander McQueen. This week, the actor shares the title role in Edward Scissorhands, where, alas, his six-pack bod will probably be hidden beneath swaths of creepy-looking costume - including those heavy scissors for digits.
What's the pressure like because the film version of Edward Scissorhands was so famous?
Pretty intense. We're dealing with a cult character - Edward is the ultimate outsider, so lots of people can relate to him. It doesn't help that the part was played by one of the best actors of our generation.
Speaking of which, you met Johnny Depp. What did he think of the show?
He loved it. He saw it in L.A. and came backstage to our dressing room for an hour. He's so enigmatic, but lovely and honest. He just wanted to chat, which was brilliant.
You're sharing the role with your former roommate, Sam Archer. Is it common to share a role like this?
It's demanding to do those eight shows a week in each venue. It's a pretty tiring show, as we keep telling people, but they don't believe us. To get into the whole shebang takes a good hour and a half in itself.
What do you do when you're getting made up?
Sit there, chat, listen to my iPod and occasionally get nervous.
What's on that iPod?
All sorts of stuff. American indie rock. Counting Crows, Coldplay, softer stuff like Damien Rice. And some harder stuff.
How does Matthew Bourne's choreography bring out the character?
It's hard to make a character like that be able to dance. He's upright and rigid. But Edward's a perfect mimic - he sees something and takes it on, because he wants to be accepted in the community.
How did you convey his emotional complexity?
In a film you can zoom in close and get the intensity in the eyes. For this, we had to get those same feelings across but make them bigger. You have to sell it to the people in the back but keep it real for the people in the front. You really have to capture that innocence, sort of like the misunderstood monster from Frankenstein.
You've worked with Bourne on a few shows and helped develop this character. What's the best part about working with him?
He gives you licence to experiment. He knows exactly how he wants a story to pan out, and he's great at constructing scenes around ideas.
So, about that sexiest dancer title. How did that pan out?
I got the mickey taken out of me at the time. I think it was "sexiest dancer under 27" or something, and a few older dancers just said, "Whatever." I'm not sure I'd get the title now, although I'm still under 27.