Review: BLOOD BROTHERS, New Wimbledon Theatre

Willy Russell's Blood Brothers remains one of only three shows to play for over 10,000 performances in the West End, bringing audiences to their feet night after night in the days when standing ovations were not always the default. A tale more than tinged with Greek tragedy, Russell's examination of class, opportunity and poverty is given an injection of enthusiasm and vitality by an excellent cast in this touring production.

A young Mrs Johnstone is married with seven children by her early twenties. Pregnant with twins and abandoned by her husband, she makes a deal with her well-heeled employer Mrs Lyons to give her one of the babies. The story follows the two boys, set on very different paths by their upbringings, but destined to be brought together with tragic consequences.

The story itself still has the power to shock, mainly due to its stark observations about how life and destiny are shaped by where you are born; it poses difficult questions about nature versus nurture. Russell's exposure of the social imbalance in education and opportunity for the working-classes of Liverpool seems even more prescient in this time of so-called 'levelling-up'.

It is refreshing to see a middle-aged, working-class woman as the central role and Niki Evans is emotionally intense and very believable as Mrs Johnstone. Her melodic voice suits both the quiet sadness of "Easy Terms" as she gives up her baby and the passionate desperation of the tragic finale song "Tell Me It's Not True". Evans' voice also works well with a measured Robbie Scotcher, as the all-seeing Narrator.

Sean Jones plays a streetwise Mickey, likable and cheekier than his lost sibling. Jones deftly shows Mickey's mischievous persona and innocence as a child, stripped away to reveal an extraordinary disintegration into dark depression as a young adult.

As the twin brought up in middle-class comfort and security, Joel Benedict's Eddie is sweetly charming, naïve and upright, moving seamlessly into a comfortable adulthood, unaffected by the economic challenges faced by the working-class. Carly Burns is a soft-hearted Linda, who is visibly torn between her feelings for each brother. Danny Taylor is a highly spirited Sammy, but occasionally is a little over-the-top in his characterisation.

There have been many versions of the show, both in the West End and touring. This particular revival feels fresh and revitalised due to the energy and commitment of the cast. There is a real authenticity that runs through the production, with much of the realism coming from the much smaller roles, such as Nick Wilkes' wearied frustration as Mickey's teacher and Andy Owens as Perkins, the apologetic and kind bailiff.

This cast, along with Bob Tomson and Bill Kenwright's direction, give different energy to each act; the first being lighter and more comedic, with the second descending into darkness and real tragedy. It remains a little frustrating that Russell's writing does not allow time for Micky and Eddie to fully analyse the realities of their respective situations once they discover the truth. However, this does enhance the fundamental tragedy within the story and also provides the audience with much to think about after the show.

Matt Malone's musical direction is loud, spirited and injects great drama and nuance to the story on stage. Andy Walmsley's set design is deceptively simple, with Everton graffiti on blackened brick terraces, moving to the bright and bucolic hills of the countryside.

This revival of Blood Brothers feels bright and energised, giving new life to this thought-provoking and moving show.

Blood Brothers is at the New Wimbledon Theatre until 12 February then plays in Manchester and York

Photo Credit: Robert Day