Blood Brothers

Willy Russell’s iconic musical ‘Blood Brothers’ has recently entered its 24^th year in the West End, placing it at the top amongst other long running musical such as ‘Phantom of the Opera’ and ‘Les Miserables’. Despite tricky beginnings the show has gone on to achieve worldwide success, with UK national tours complementing the current production at the Phoenix Theatre. The show has acted as a platform for a variety of West End stars through the years, including many of the Nolan sisters, Spice Girl Melanie C and Niki Evans. The tragic story tells of a mother forced to separate her twin boys at birth and as they begin to grow up apart from one another, superstition and fate force them together with a dramatic conclusion.

Part of the show’s continued success comes from the strength of Russell’s script, which had enjoyed a life before the musical adaptation in 1983. Now a standard text for GCSE drama pupils nationwide, it is filled with pathos throughout and the story is both timeless and classic, striking a chord with audience members of all ages and backgrounds. The careful staging keeps the show fast paced throughout with a tight ensemble company who handle the changes in ages with the right levels of sensitivity and energy. The multifunctional set enhances the stylised direction that grabs the audience and keeps them engaged throughout, despite the simplicity of much of the score. Vocals at times sound over produced, with heavy re-verb and effects distracting from the raw quality of the acting. Meanwhile the band often sound too synthesised during key emotional moments, tipping slightly into a comedic style placing the show firmly within an unnecessary time context. The beauty of the show is its universal appeal, and although the backdrop of Liverpool during the mid 1970s to early 80s is a firm feature of the show, the plot and setting remain mutually exclusive.

Wet Wet Wet star Marti Pellow assumed the role of the sinister Narrator for a limited London run earlier this year, giving a somewhat wooden approach to an otherwise meaty role. His vocals struggled in parts, and rather than creating an intimidating presence you almost wished for less of him on stage. Amy Robbins as Mrs Johnstone delivered a strong vocal performance, although her age affected the maternal aspect of the character that did not effectively evolve throughout the piece. Richard Reynard and Stephen Palfreman deliver convincing performances as twins Eddie and Mickey respectively, using fantastic physicality to shift effortlessly throughout the narrative displaying different ages with ease. The production remains tight and effective, if not a little overblown musically. With an added touch of sparkle and some re-orchestrations the show could be set to reach its quarter century and beyond.

Where I Sat: Stalls row C seat 5. A little too close to the stage, some action was very high due to the rake of the stage. Better seats are in the centre of the stalls.

Recommended?: Thoroughly to anyone who loves a good story well told.