Blood Brothers
★★★★☆ Captivating
Edinburgh Playhouse: Tue 24 – Sat 28 Sept 2024
Review by Suzanne O’Brien
Written by Willy Russell, Blood Brothers at the Edinburgh Playhouse all week and returning to the Glasgow King’s in October, is a compelling tale filled with moving performances.
Known for his sharp social commentary and poignant storytelling, Russell’s work continues to captivate audiences decades after its debut. Blood Brothers explores the power of a mother’s love and reminds us never to underestimate the bond between brothers.
An ominous opening sets the tone for this dark musical, which unfolds as a flashback. Set in Liverpool between the 1950s and 1980s, the story revolves around twin brothers, separated at birth after a desperate deal is made between two struggling women.
Mrs. Johnstone, the boys’ mother, is already battling to care for seven children. Mrs. Lyons (Sarah Jane Buckley), is a well-off woman who is unable to conceive.
Scotland’s own Vivienne Carlyle delivers a powerful performance as Mrs. Johnstone, her portrayal filled with inner turmoil and maternal strength. Her stoic demeanour balances moments of warmth and sternness, while her magnificent vocals leave a lasting impression.
unbreakable bond
As young children, the brothers Mikey (Sean Jones) and Eddie (Joe Sleight) unknowingly reunite and form a bond that appears to be unbreakable, despite their class difference and their mothers continued attempts to keep them apart.
The fun and innocence of childhood is well captured through the comical, physical performances of Jones and Sleight. Their playful antics which include riding imaginary horses, shooting toy guns, and whispering rude phrases, bring a sense of nostalgia, making many in the audience reminisce about their own carefree days of youth.
The musical poignantly highlights that children do not see class or boundaries; Mikey and Eddie simply see each other as friends, defying the societal expectations which surround them.
Scott Anson brings an unwavering intensity as the mysterious narrator. His commanding presence is felt as he watches over the story, often from the upper levels of the stage. His rhyming couplets have a lyrical feel that effectively underscores the themes of fate and inevitability that run throughout the story – without overshadowing the unfolding tale. He does not directly engage in the action, although he joins in some of the songs and creates some hair-raising harmonies.
seamless
One of the standout elements of this production is how convincingly the actors transition from playful children to troubled adults. While it can sometimes be difficult for older actors to portray youthful innocence, the cast excels.
Vivienne Carlyle is as believable as the young mother of seven as she is as the heartbroken woman with grown-up children later in the story. The same can be said for Jones and Sleight, whose transformations over the decades are seamless.
Though their characters retain some of their youthful characteristics, their innocence and naivety evolve in contrasting ways, successfully reflecting the stark differences in their circumstances and upbringings.
It is these differences which ultimately drive the pair apart. Gemma Brodrick also gives a strong, convincing and often humorous performance as their childhood pal Linda, whom we watch develop from flirty teen to Mikey’s lover.
Andy Walmsley’s set design is a gritty street scene which subtly changes with the passage of time. While the houses remain largely unchanged, small additions, whether moveable sets or backdrops, help signal the shifting location from inner city to the countryside, where the brothers reunite again in their teens.
Despite the large scale and intensity of the production, there are moments of stillness and quiet that add an intimate, reflective element to the otherwise intense and fast-paced narrative. The direction from Bob Tomson & Bill Kenwright allows these moments to breathe, enhancing the emotional impact.
flawlessly integrated
The excellent score, features numbers such as the recurring Marilyn Monroe, and Shoes Upon the Table, which are flawlessly integrated into the storytelling and really drive the piece on.
Each song resonates with the characters’ pains and joys, and the final number, Tell Me It’s Not True, sung by the whole company, fully encompasses the struggles explored in the piece.
The failings of society, the inequality and the hardships that are explored in Blood Brothers continue to ring true with audiences today, just as they did when the play first premiered.
Its exploration of class divisions and poverty in a Liverpool setting is both realistic and poignant. It is no surprise that audiences continue to fill theatres, and that many people return to see this classic time and again.
Running time: Two hours and 50 minutes (including one interval)
Playhouse, 18 – 22 Greenside Place, EH1 3AA
Tue 24 – Sat 28 Sept 2024
Evenings: 7.30pm; Mats: Wed, Thurs, Sat: 2.30pm.
Tickets and details: Book here.
Glasgow King’s Theatre, 297 Bath St, Glasgow G2 4JN
Tue 15 – Sat 19 Oct 2024
Evenings: 7.30pm; Mats: Wed, Thurs, Sat: 2.30pm.
Tickets and details: Book here.
ENDS