★★★★★

Reviewer - Penny

*Disclaimer: Gifted tickets in return for an honest review.

After initially being produced in Liverpool, Willy Russell’s Blood Brothers ran in the West End for 24 years between 1988 and 2012, playing over 10,000 performances. Since then it has continued to tour and regularly places well on “Best Musical of All Time” lists.

The story is about the Johnstone twins. On discovering that she is once again pregnant, their mother cannot afford to have two more mouths to feed, so makes a deal with the wealthy but childless Mrs Lyons, who employs her as a cleaner. Mrs Lyons is to raise Eddie as her own and Mickey will stay with his mother. As we watch the boys grow up, with a chance meeting leading to friendship, the story looks at the impact of their upbringings on their lives – is their future to be a result of nature or nurture?

Written in the 80s and with action starting in the sixties and taking place over 25 years, it’s a testament to Russell’s writing that Blood Brothers does not feel dated or tired. Its approach to depression is perhaps the exception as there is little attempt made to understand Mickey’s feelings, with possibly even less consideration afforded to Mrs Lyons as she sees her carefully constructed reality falling apart around her.

Blood Brothers is co-directed by Bob Tomson and Bill Kenwright, both of whom have been involved with the show for many years. And that shows. The direction manages to wring every bit of comedy from the script – much needed light relief to contrast the absolutely heartbreaking gut punches that really hit home.

The set is simple but very effective, depicting a run down terrace of houses with the Liverpool cityscape as a backdrop, changing to green fields as the play progresses. There are dimly lit alleyways, enabling a swift exit or concealing an onlooker. The interiors are depicted with simple flats and basic furniture, meaning that we don’t have to contend with lengthly scene changes and the action is able to move on smoothly.

The script is a brilliantly written mix of poetry and prose. Most of the rhyme comes from the character of the Narrator, played here with brooding menace by Richard Munday. Like a number of the current cast members, Munday has a long history with Blood Brothers, having played Mickey in the West End 17 years ago. Now, his character is a constant observer as the action unfolds, breaking the fourth wall to address the audience and very occasionally interacting with the characters. There’s a sense that he is the puppetmaster here, pulling the strings of both the cast and audience as he draws us into the action. It’s a chilling performance that manages to make an impact without distracting from the story.

This is not a musical that relies on huge chorus numbers, lengthly emotional duets and big showstopping solos for its success. It does, of course, give us what is arguably one of the most iconic musical theatre numbers out there in “Tell Me It’s Not True” but generally the music is simple, entirely fitting with the characters and important in moving the plot along, rather than being an unnecessary addition to showcase singing talent. That said, these simple melodies present plenty of earworms that will stay with you long after the curtain falls.

A recurring theme, both musically and throughout the narrative, is Marilyn Monroe, a star associated with the sort of glamour that’s inconceivable to Mrs Johnstone, old before her time and struggling to make ends meet in a run down part of Liverpool. But Monroe is ultimately a tragic figure, reinforcing for me the idea that a veneer of glamour and success does not mean a happy and fulfilled life.

At this performance, the role of Mrs Johnstone was played by Paula Tappenden, another actor with a long association with the show. From the start, her portrayal was tired, jaded and coming from a place that has long gone past desperation and into a resigned acceptance of her situation. Her singing was a little harsh, perfectly showing her resignation and hopelessness. She sings about the good times but is well aware that going dancing with her flashy young lover is what led to her life now. The contrast in Tappenden’s performance when Mrs J gets a rare bit of luck is striking. Act One finishes with the family being moved to a new council home in the country – as she leads the company in “Bright New Day” it’s as if 20 years drop off her. Then her performance at the climax of the show is an absolute tour de force, leading “Tell Me It’s Not True” with acting and vocals that are raw, powerful and utterly heartbreaking.

Although this is an extremely well structured show, it really changes gear and comes to life when we first meet Mickey and Eddie, the Johnstone twins. Mickey (Sean Jones – another veteran of the West End cast) and Eddie (Joe Sleight) meet for the first time, aged seven. They quickly decide to be best friends and, learning they were born on the same day, make a pact to be “Blood Brothers”. Mickey’s opening monologue in which he tells us that he’s seven, but nearly eight, is a highlight as Jones fully embodies the seven year old boy in his speech, mannerisms and physical exuberance. We check in with the boys when they are 14, 18 and then around 25 years old – the actors brilliantly portray their development as their lives take different courses. Always present is their childhood friend, and love interest, Linda – played by Olivia Sloyan. She is really a supporting character to Mickey and Eddie’s relationship but Sloyan manages to inject a range of emotions from childhood innocence to utter despair as she is swept along with the boys’ story.

Blood Brothers does not present a lot of opportunities for the ensemble, but it is peppered with cameo performances that really stand out – from milkmen, teachers and doctors to the kids Mickey and Eddie hang out with on the estate.

The climax of the show is one of the most powerful that I have seen. The singing builds to a crescendo as the cast breaks the fourth wall and sings out to the audience. Everything we have just seen has led to this. It’s hard hitting and absolutely devastating. It is followed by a spontaneous standing ovation from just about everybody in the theatre. The structure of the show means that there isn’t really an opportunity to applaud individual numbers or scenes as it progresses, so now that we’re able, everybody wants to show their appreciation of this absolutely outstanding production.

As the Narrator asks at the start and end of the show, “So did you hear the story of the Johnstone twins?” If it’s a story you haven’t heard, then I urge you to book a ticket for the Blood Brothers tour. It is playing at Bromley’s Churchill Theatre until Saturday 4th March and then continues to tour during 2023.