It’s easy to see how this musical stands the test of time, with themes like the cost of living as relevant today as it was when it was written in the early 1980s. The story follows a familiar vein of twins separated at birth, one, Edward or Eddie, growing up in privilege and the other, Mickey in poverty. They befriend each other as young boys playing in the street but are separated again when the wealthier family moves away.
Years later the two boys find each other again when the rehousing programme in Liverpool moves the Johnstone family to the countryside, with cleaner air and a new home. The story follows the boys as they rekindle their friendship, share a love interest and, eventually, go their separate ways when university and life come knocking.
This is not just a story about two boys, but also their mothers and the complexities of the agreement Mrs Johnstone makes with her employer Mrs Lyons when she finds out she’s pregnant for the 7th time, and this time with twins. Mrs Lyons, desperate for a child of her own proposes the idea that she take one of the babies and bring him up as her own.
Mrs Lyons’ insecurities and fears at being found out spur the events that unfold. The twins’ mother Mrs Johnstone, likened to Marilyn Munroe by her husband when they start courting, underscores the story with comparisons to Munroe’s life. The music throughout reflects the period in which the story is set and the hardships of growing up as one of seven in the 60s and 70s is shown in sharp contrast to the nurturing upbringing of an only child in a well-off family.
Throughout the performance a narrator haunts the stage, adding to the unease that the two women feel and the growing feeling of impending doom. Leaning heavily on superstition, he comes across as a malevolent presence and could often be seen lurking in the background of scenes watching the story unfold.
Set in Liverpool the working class cast members carry a convincing Liverpudlian accent throughout, but the narrator slips between singing in pronounced English and having a Scouse twang, which is a touch off putting. The acting ability, however, of the Johnstone twins shows real range. From portraying snotty seven (nearly eight) year olds, playing cowboys and Indians through teenage embarrassment and into haughty and disaffected men displays real talent. Their comedic timing is also very clever, with multiple laughs at their fraternal antics, and staying just the right side of being crass.
A special mention must go to the live band whose score builds throughout the show reflecting the different phases in the boys’ lives. The sets are incredible throughout with no detail spared, from the prim and proper Lyons home to the scant threadbare furnishings of the Johnstone terrace. Unusually the stage was on a slight incline so the actors spent the entire performance walking up and down hill, but it definitely added to the atmosphere.
The first act felt much longer than it needed to be, with a lot more emphasis on scene setting and their boy’s childhood than was needed. The second half was a lot more pacey and a dramatic crescendo to the tragic ending, with the performance finishing with the emotional well known number ‘Tell Me It’s Not True’.
This is good old-fashioned musical theatre. While the story is very linear and somewhat lacking in dimension, the quality of the acting and impressive vocals will continue to draw audiences to this show and have audiences on their feet night after night.
Blood Brothers is playing at the Wales Millenium Centre 20 – 24 August 2024.
You can find out more details on performance times and to book tickets here.
