Blood Brothers

There’s an aura of Greek Tragedy about Willy Russell’s musical Blood Brothers and its tale of twin brothers, Mickey and Edward, split at birth, raised in respective poverty and wealth, becoming best friends (unaware of their connection), before dying as a consequence of a tragic love triangle.

With basic resources and facilities, NUCMS presents a clear, creditable interpretation with a strong narrative sense, making a virtue of enforced simplicity. It’s a small show, well-matched to its presentation and venue.

The prelude to the action of the play, a bleak funeral on a rainy day, reveals the gravestones of the two brothers with an effective piece of sleight of hand, foreshadowing the tragic ending from the outset. Like a Greek audience, we know the ending, and can only watch to see how the fates unfold.

The formidable Mrs Johnstone, mother of the twins, dominates the musical, and at NUCMS the role is given a convincing, dynamic portrayal by Elizabeth Hogan, both dramatically and vocally.

It’s a delight when adults play kids and genuinely capture the playful, innocent essence. Co-director David Russell, who stepped into the role of Mickey as a cast replacement early in rehearsals, and Alex Giles, as Edward, begin the performance achieving just that, establishing a delightfully credible contrast at the age of seven, almost eight. As they progress through the ages of 14, 18, then into adulthood, Russell and Giles characterise the roles, and the widening gulf between themselves, effectively and credibly.

A narrator weaves in and out of Blood Brothers – is he commenting on the action, Greek chorus style, or does he oil the wheels of destiny? Victor Reyes isn’t as effortlessly malevolent a Narrator as some I’ve previously seen, but his telling is strong and clear, and his singing impresses. His doubling in other characters is well delineated, an achievement matched by other performers called on to switch between various roles and cameos.

If Blood Brothers has a villain, for mine it’s the chillingly ungrateful and paranoid adoptive mother Mrs Lyons, and Barbara Sanders infuses her with a suitably snooty selfishness.

With the band placed behind the scenery, a balanced sound mix is maintained throughout, the unseen musicians and cast in synch under the control of Jeff Fisher.

NUCMS’ multi-purpose church / hall home fosters an intimate relationship between audience and the performance, but it also places constraints, including the need for partial bump-outs throughout the season.

Given the constraints, a single setting is almost essential, and technically the design met the production’s needs, allied to generally fluid property changes. The fixed brick wall of the design, however, meant that the transformation called for mid-show was rather understated.

Minor criticisms I’d offer of include: some movement might have benefitted from more structure, for instance the scene where the children are playing (no choreographer is credited); the Liverpudlian accents of some performers drifted in and out, occasionally straying close to Strine, while less experienced players rushed their dialogue from time to time, at some expense to characterisation.

Blood Brothers, high on my list of favourite musicals, is well-served in this simple, effective and affecting production.

Neil Litchfield

Photographer: Amelia McCann.