Set in Liverpool, Willy Russell’s Blood Brothers is the ultimate tale of nature versus nurture, and the effects one decision can take on so many lives. After seeing so many productions over the years, it must be said that this incarnation is the most emotionally-charged staging of Blood Brothers in decades. 

With direction from Bob Tomson and Bill Kenwright, the production continues to soar to new heights, despite minimal updates since its original incarnation. Blood Brothers tells of Mrs Johnstone (impeccably played by Vivienne Carlyle), who, after receiving news that she is expecting twins and being unable to afford to keep both, gives one away to her employer, Mrs Lyons (Paula Tappenden). What follows is a gripping exploration of how vastly different the brothers’ lives become- but ultimately come to the same fateful conclusion.  

Carlyle gives the performance of a lifetime. There have been a multitude of high-profile performers playing the iconic role of Mrs Johnstone, but I have to say- this is the most sterling portrayal I have seen. As a Scouser in the audience, the accent alone is the most authentic I’ve heard, even above other Liverpudlian performers. No stranger to the production, Carlyle previously played Mrs Lyons in the piece and she, like with other veteran cast members, embody their roles with vulnerability and show character development with the gusto required over the narrative’s extensive timeline. 

Tappenden gives a haunting and gripping portrayal of Mrs Lyons, showing the gradual unravelling of the character as time goes on, while Gemma Brodrick as Linda brings relatability from carefree child to desperate young adult. Kristofer Harding as the lingering, omnipresent narrator is charismatic and captivating throughout, bringing a previously unseen confliction and investment to his final scenes, in what has previously been portrayed as nonchalant and dismissive toward the circumstances. Sean Jones, despite his tenure, continues to thrive as Mickey, showing his demise from boy to man, while Joe Sleight as Eddie brings a ‘deer in headlights’ authenticity as a youth which is carried over when he’s at his most vulnerable as an adult. It’s simply a sublime cast. 

Russell’s score encapsulates the ever-changing tonal shifts of the piece. Melancholic melodies that hark back to the relative joys of yesteryear are upended by dark synths that bleed into the second act before its legendary, soaring finale. Themes of the tragic life of Marilyn Monroe are not only explored lyrically, but thematically. 

Although over four decades old, these themes are still relevant today. Yes, superstition is less pandered to, but it shares the same psychological mechanism of the acceptance of fake news, resulting in choices of not always seeing the bigger picture and the effects of this on society. Likewise, the divide caused by income and class differences, and the differential treatment that culminates from this, is very much still present with the current cost of living crisis.  

Willy Russell once said that he may not have created the best show, but he did create the best last five minutes with this tragic musical juggernaut that captured the attention of a generation. While I agree with his comments regarding the ending, there are not many shows that can endure the test of time whilst continuing to be this close to perfection. 

Blood Brothers plays at Lowry until Saturday 22nd November. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Jack Merriman.