Blood Brothers 💪

#PRInvite #Gifted | We don't want shoes upon the table this week as Blood Brothers returns for its latest UK Tour. I wouldn't blame anyone for being superstitious this week, particularly if you are attending His Majesty's Theatre for the critically acclaimed production.

Star rating: ★★★★

Willy Russell’s Blood Brothers returns to Aberdeen this week for its most recent UK tour. The show was originally developed as a school play, before it was remodelled for a short West End run 1983. It is hard to think of another musical with such critical acclaim - the production later revived in London which continued in multiple theatres for twenty-four years. It was clearly a firm favourite for many patrons in the audience last night, with many admitting to the title being their favourite stage show of all time. Taking the sights of Liverpool to the His Majesty’s Theatre stage this week, I’m telling you it's true that this classic musical is not one to be missed, particularly if you haven’t seen it before.

Blood Brothers opens with the Johnson twins, exploring the fatal consequences of separating twins at birth. With strong connections to the theme of nature versus nurture, Mickey and Eddie could not be more dissimilar - Mickey raised in poverty; and Eddie raised in luxury. The plot is held up by the backstories of two mothers: the trials of Mrs Johnstone raising a string of children on a council estate, and Mrs Lyons’ desperation to become a mother despite not being able to conceive a child. Though the show encounters some dark themes, including mental health issues, money hardships and grief - Blood Brothers is strengthened by its illustration of friendships, and the sheer lengths a mother will go to to support her child.

Willy Russell’s name headlines the title, having penned the book, music and lyrics. The script is versatile, with real moments of comedy, yet it handles the transition to a darker second half with ease. Although, there are some noticeable issues with the script and lyrics which surprisingly need ironed out, despite the long-running history of the show. The book is unmistakingly on-the-nose - every part of the show is preempted, which leaves very little room for imagination. This is my main criticism of the show, as having the story laid out so explicitly, without subtlety or subtext, brought issues for the production’s pacing. Similarly, the show has a cyclical structure - so when each act is an hour and fifteen minutes, but you’ve known how it ends from the very beginning, it left me wanting the show to wrap up much quicker than it did.

Following the same staging as previous tours, Blood Brothers is directed by Bob Tomson and the late Bill Kenwright. The blocking of the show was effective, working in tandem with Designer Andy Walmsley. The direction of the show is timeless, complimented by the lighting design by Nick Richings. Despite this, I would have liked to see a slightly updated production, with some of the scenery needing a breath of new life, appearing unspirited on stage at times. Despite this, I enjoyed the exaggerated raked stage, and the transition to the countryside at the end of the first half.

Vivienne Carlyle wears the apron as Mrs Johnstone. Carlyle’s portrayal was exemplary, demonstrating that there is more to the character than what first appears - initially described as a mother with a stone replacing her heart. Mrs Johnstone’s character underpins the fate of her sons through an extended metaphor of Marilyn Monroe, which in a fault for the book, does become tiresome. Sarah Jane Buckley plays Mrs Lyons, a character so desperate for a child she becomes utterly flawed. Vocally, I wanted slightly more from these two at times, with a lack of diction occasionally. Moreover, some of the acting choices were uninspiring and lacked authenticity. For a show that mentions the word ‘soft’ constantly, the stage presence at times was anything but - instead, the audience were presented with stiff moments and body language that could have been delivered with more distress and substance. However, the pair treat us with some lovely melodies, including ‘My Child’ and gut-puncher ‘Tell Me It’s Not True’. 

Sean Jones returns to the role of Mickey, having played the part in London’s West End and subsequent touring productions. Jones plays the character through the ages of seven, fourteen and eighteen and the interchangeability of his acting is remarkable. I would also say he was the strongest vocal performer in the cast. Joe Sleight plays Eddie - a contrasting character in comparison but an equally pleasant performance. Sleight’s characterisation is much more nuanced throughout the show, so although the pair of Blood Brothers are perfectly suited to their roles, Jones’ portrayal of Mickey is unmatched.

The show is woven together by the Narrator played by Scott Anson, having originally played the same role on the tour twenty years ago. Anson brings some much needed tension and power to the first act, occasionally with shaky vocals, but is well-suited to the music’s slight rock edge. The narrator speaks in rhyming prose, which despite continuing the on-the-nose approach to the script, this was effective in separating the dialogue from the classic hair-raising tale that has thrilled audiences for generations. The production was supported by Gemma Brodrick as Linda, who was excellent in her role.

Blood Brothers is a devastating story, knitted together with economic hardships, mental illness and sanity. But above all, true friendship between two twin brothers who are kept separated throughout their lives, but who always find a way to get back together. The show is a classic Bill Kenwright production, and though I would welcome small updates, its success is a testament to how enduring the show is at its core.

Credits

Instagram links: @theatregramuk, @aberdeenperformingarts, @bloodbrotherstour

Review by Joel Simpson cc: theatregram@gmail.com

Production photos supplied by Aberdeen Performing Arts