Last night saw the first performance of Blood Brothers at the Theatre Royal, Brighton, ending with the audience responding as one with a well-earned standing ovation and enthusiastic cheering. This highly professional and deeply emotive performance provided us with what you can only get at the theatre – a totally immersive experience.
Blood Brothers tells the story of fraternal twins, separated at birth, who meet again with fateful consequences. The story begins with a tableau depicting the final scene, in which the worst possible outcome has occurred. But we don’t know how this came about, and the rest of the show explores their journey. We follow the two boys as they grow up and deal with what life throws at them, but their deep secret continues to threaten their existence. This is the core of the story, but you will need to see it yourself to get the full picture.
Originally produced in 1983, written by Willy Russell (Educating Rita, Shirley Valentine), it went on to win the Laurence Olivier Award for best new musical and achieved a 24-year West End run, one of the longest in history. However, don’t dismiss this as a simple musical that’s been around for over 40 years. The performance this week was vibrant and vital, and whilst it is set in the 1980s, it felt totally up-to-date and relevant for any age. It explored universal themes of class, love, betrayal, and secrets, with a powerful script that drove the narrative forward.
There was so much to love about last night’s performance, and we were impressed with the entire cast. The show’s heart is Mrs Johnstone, played by Vivienne Carlyle. She brought the character a huge amount of warmth and passion; her strong voice delivered heartfelt performances, whilst she could also turn up the heat and fill the hall with the meaning behind the words. She was totally authentic in the role, and when she hugged her children, you could tell she meant it. She is an expert storyteller.
The two boys were played by Sean Jones (Mickey) and Joe Sleight (Eddie), who also turned in remarkable performances. The first half portrayed them as seven-year-olds, and despite the actors clearly being much older, they were totally believable. Their mannerisms, ticks, ability to clown around, and physicality drew us into their world, and the voice work was perfect. As the story developed and they aged, both actors subtly changed, morphing their voices, stances, and personas in response. It was a joy to watch this. Sean Jones has been associated with the play for over twenty years, and we could see just how much he understood the character. The scenes of his desperation in the second half were particularly poignant, and the audience fell silent in response, hanging on every word he said.
The rest of the cast were similarly engaging, and we particularly enjoyed the malevolent appearances of the narrator (Richard Murray), who stalked the stage and the runways with an ever-present threat. The simple set was very effective, with a deep backdrop of Liverpool that created a great sense of space on the stage. With a live orchestra below, and a particularly strong clarinet/saxophone player, the sense of drama was enhanced and we knew we were in very safe hands.
A great deal of praise goes to the costume department. The perfectly selected green jumper that Micky wears allowed him to emphasise the quirks of a seven-year-old; the skirt provided for Linda was perfectly selected; and Mrs Johnstone’s parade of coats offered a clear reference to the passing of time. It shows how well-structured this whole show was. We also enjoyed the references to the audience, particularly when the milkman declared he was now an obstetrician. Very funny.
The other special feature of this show is the score. Once introduced, the songs cycle back in reprises, the words changing to suit the story at that point in the show. The ‘Marilyn Monroe’ theme is gorgeous, and ‘Tell Me It’s Not True’ has wonderful lyrics. However, it is the way they use the music that adds to the performance. This is not a show where every line is sung, there are no big standout sing-a-long moments, and you could describe it as a play with songs rather than a musical. Still, when they do move into song, it feels very natural, particularly when Mrs Johnson sings as Vivienne Carlyle, as she seems to move seamlessly across the different ways of presenting her character’s emotions.
It would be wrong to give away too much of the story here. What we can tell you is just how impactful it was on us – many people nearby were in tears, including my guest for the evening, who was completely overcome by emotions. The show crescendoes towards the end and provides a stunning ending, which, whilst we knew what was coming, felt startling and surprising as well.
This is a first-rate production, delivered by actors who are completely in touch with their characters. The show feels fresh and relevant, and we can’t recommend this highly enough.
Performance Dates
Wednesday 11th February – 7.30 pm
Thursday 12th February – 2.30 & 7.30 pm
Friday 13th February – 7.30 pm
Saturday 14th February 2.30 & 7.30 pm
Tickets are available at Theatre Royal, Brighton, priced from £20.00.
Please note this performance is recommended for 12+ and under-16s need to be accompanied by adults. No children under 5 are allowed in the venue.
Musical Numbers
Act 1
Marilyn Monroe
My Child
Easy Terms
Shoes Upon the Table
Easy Terms (Reprise)
Kids Game
Shoes Upon the Table (Reprise)
Bright New Day (Preview)
Long Sunday Afternoon
Bright New Day
Act 2
Marilyn Monroe
Shoes Upon the Table
That Guy
Shoes Upon the Table
I’m Not Saying a Word
Miss Jones
Marilyn Monroe
Light Romance
Shoes Upon the Table/Madman
Tell Me It’s Not True
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