Blood Brothers

So did y’hear the story of the Johnstone Twins? As like each other as two new pins, of one womb born, on the self-same day, how one was kept, and one given away?

Willy Russell’s Blood Brothers is based on the idea of nature versus nurture, of class divides, and of the bonds of brotherhood. Mrs Johnstone (Lyn Paul) has seven children, and crippling debt. With a husband who’s upped and left her for a younger woman, she is pregnant again and can barely support the children she already has. She takes a job as a cleaner for middle-class couple the Lyons, and is confident that she can manage. That is, until her gynaecologist (and until very recently, her milkman) lets her know that she’s having twins.

For Mrs Lyons (Sarah Jane Buckley) the solution is simple: Mrs Johnstone can’t afford any more children, and can barely cope with the ones she has, and she and Mr Lyons pine for their own baby. The Lyons can raise the second baby as their own. Mr Lyons is against adoption, but as he’s conveniently away on business for nine months, Mrs Lyons reasons that she can fake a pregnancy, surprising her husband with their new babe on his return. While Mrs Johnstone is not convinced (she is somewhat railroaded into the decision by the desperate Mrs Lyons), it seems to be the only option.

The musical shows the two boys growing up just a stone’s throw from each other, but with entirely different lives. By chance the two meet, and upon finding out that they were born on the same day, they become Blood Brothers. For Mickey (Sean Jones), the twin who was kept, life is not kind. Eddie (Mark Hutchinson) has everything he could need but his mother suffers crippling anxiety and guilt about the secret she can never tell.

Act 1 will have you in stitches as the adult ensemble mimic the behaviours of seven (nearly eight) year olds impeccably. At this performance Alison Crawford stood in to play the role of Linda, and was exceptional.

The musical is constantly driven forward by Dean Chisnall as the ominous and ever-present narrator, whose words foreshadow Act 2. The second act is much darker, Mickey spirals into depression and is driven to crime by his redundancy. In contrast Eddie has moved to university, and is thriving. The switch from childish games to love and depression asks a lot of the cast, and they really do deliver.

The only slight bone I’d pick is the reverb, which I personally felt was a little overused. The singing, acting, and physicality of the performance from the entire cast was excellent.

Through the two acts you’ll certainly laugh, you’ll definitely jump, and you might just shed a tear. The standing ovation was well-deserved.