Willy Russell
Bill Kenwright Limited
Palace Theatre, Manchester
November 19-30, 2024; 2hrs 50mins
(Also Grand Theatre, Leeds, December 3-7; Liverpool Empire, March 11-22, 2025; York Grand Opera House, April 1-5)
A twinkling Liverpool skyline backdrop. Fog slowly clearing. Those spine-tingling opening vocals. The cast take their final positions and within moments the audience is up to speed and fully on board.
It isn’t just punters who can’t keep away from Blood Brothers, the Merseyside melodrama. Scott Anson is back as the Greek chorus Narrator after more than 20 years. Sean Jones has ridden Mickey’s imaginary horse around various stages. This isn’t Vivienne Carlyle’s first time as Mrs Johnstone either.
All three are superb, but Jones really stands out. His energy and physical characterisation are so spot on it is hard to imagine anyone else ever being able to inhabit this role as well. The transformation from childhood exuberance to world-weary despair is extraordinary to watch.
The rest of the parts are well cast, but in reality the actors are generally following a fairly well-trodden path in terms of character, intonation and choreography.
For a musical so tied to its 1980s setting, it is impressive the subject matter has stayed relevant, and the show hasn’t, on the whole, aged badly. If anything, the synth-backed musical numbers might be back in fashion again. They are certainly brought to life under the supervision of Matt Malone and his band.
That being said, the show’s treatment of mental health does feel a little problematic these days. Even when taking into account the time period and modern sensibilities, the ‘madman and woman’ tropes don’t sit well anymore - nor do they add too much.
There is a danger that by not adapting something so well-loved, it can actually feel neglected. Joseph in years gone by comes to mind. Here, though, designer Andy Walmsley has made sure the sets and props feel familiar but fresh.
This is a slick, well-oiled machine. It perhaps lacks a little of the rough around the edges quality that new musicals enjoy, but frankly any criticism is both nitpicking and largely pointless; the combination of flawless melodies and one of the best endings in musical theatre is hard to beat.
Those Blood Brothers have still got a lot of life left in them yet.
Tickets and information here.
