(L-R) Sean Jones, Niki Colwell Evans and Jay Worley in Blood Brothers at the Waterside Theatre, Aylesbury. Picture: Jack Merriman
Blood Brothers continues at the Waterside Theatre, Aylesbury until 19 November 2022 and then tours until 3 December 2022.
Star rating: four stars ★ ★ ★ ★ ✩
While Musical Theatre Review critics have regularly reviewed Blood Brothers since the site was created nearly 10 years ago, it has been a long time since I have caught up with the show. Was it wise to revisit Willy Russell’s musical masterpiece when I had such fond memories of seeing it way back when at London’s Phoenix Theatre? As it turns out, yes it was.
In comparison to a large proportion of new musicals that have come on the scene in recent times, Blood Brothers could easily be dismissed as traditional fare both in its content and staging, but that’s not the case here.
There is a reason the text is often on the GCSE English Literature syllabus and the show is hardly ever off the touring circuit. Compelling storytelling, emotional, irresistible and original songs (the fine band is led by MD Matt Malone) and themes that continue to resonant with audiences year after year make for timeless theatre.
On the surface the construct of the ‘tale of the Johnston twins’, separated at birth and finding themselves on different sides of the class divide, might seem simplistic but what Russell, directors Bob Tomson and Bill Kenwright, the creative team – credit to designer Andy Walmsley, Nicj Richings (lighting) – and a terrific cast do is pretty sophisticated. And what the main protagonists achieve through their characterisations, as time shifts gradually from 1950s to 1980s Liverpool, is particularly impressive.
For audiences to fully invest in the intertwined lives of Mickey (Sean Jones, something of a legend in Blood Brothers circles), Eddie (Jay Worley) and the girl they love (Carly Burns as Linda), the journey from lively mischief-making seven year olds to adults with jobs and responsibilities has to be believable, and these performers do not disappoint.
The way Jones portrays the fallout from Mickey’s stint in prison is incredibly moving and contrasts with how innocent and free life was only a matter of years before. The chemistry between Jones and Worley is also delightful, with the latter succeeding at life but always struggling with knowing who he really is. His reaction when hearing the truth about his birth mother at the show’s conclusion is heart-breaking. Alongside them every step of the way is the excellent Burns, struggling to do right by the two men she loves.
Amidst a wonderfully energetic cast, many of which play several roles (just watch Nick Wilkes play two different teachers in the blink of an eye) and sing and dance their hearts out, other standouts are Paula Tappenden as Mrs Lyons and Richard Munday as the Narrator.
It’s not easy to depict how the fear and guilt associated with what she has done begins to undermine the happiness of motherhood, but Tappenden does that with great delicacy and commitment.
The presence of the Narrator could potentially ramp up the melodrama to an uncomfortable degree, but Munday brings a welcome sincerity to the role. He is not just a harbinger of doom, but also someone who cares for the lead players in his story, is joyful when they are having fun, and regretful when they make decisions that seal their fate.
Finally, there is Niki Colwell Evans as Mrs Johnstone, a part the actress has played many times both in the West End and on tour, and yet this might as well have been a first performance. The audience is with her every step of the way, living the highs and lows as she tries to hold on to her positivity despite the system rarely giving her a break. How she manages to invest so much emotion into the role and yet keep on top of her some brilliant vocals is anyone’s guess. She really is a force to be reckoned with.
Much of the above might make Blood Brothers sound like a depressing experience but as fans of the show will know, Russell’s genius is to combine a wonderful sense of humour with topical commentary. In light of the social and financial challenges people are facing in the current climate (‘And do we blame superstition for what came to pass? Or could it be what we have come to know as class?’), the musical remains not just a British classic but a show for our time. No wonder many a tear was shed in the Waterside auditorium.
Lisa Martland
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