Blood Brothers (Embassy Theatre, Skegness)

11 September 2024 I 14:30 I Embassy Theatre, Skegness

⭐⭐⭐⭐

Have you ever heard the story of the Johnstone twins? If you haven't, I could thoroughly recommend a visit to the current Blood Brothers UK Tour, brimming with friendship, loyalty and unruly pressure. Unveiling the tragedy of Mickey and Eddie, twins separated at birth, the pair live drastically different lives both socially and economically. The story, curated by Liverpudlian dramatist Willy Russell, is performed as a musical, featuring recurring melodies that can be synonymous to a hybrid play, not directly conforming to either.

A struggling yet caring mother, Mrs Johnstone struggles to make ends meet with a seven child household. But with another pair on the way and no longer married, she isn't financially viable to raise the twins. Desperately wanting a chance of motherhood, Mrs Lyons purchases Edward from his mother, Mrs Johnstone keeping Mickey. The babies are forced to live unknowing of their blood relation, embroiled with deep superstition. The production opens with the final aftermath, consequently reversing time to observe how such devastation came to be.

Russell's song work is fascinating throughout the show, particularly the motif of Marilyn Monroe, the actress' turbulent history mimicking the plot. Extremely well considered, I admire the beauty within the lyrical detail. However, I have always desired to see the material delivered as a play, removing the obviousness of the 'theatre'. Some moments are really generous to the pacing, though breaking into musical patterns disrupts the emotivity. I want to believe reactions as sincere and profound, which occasionally struggles to be achieved.

Across a challenging book, Vivienne Carlyle's Mrs Johnstone refines everything required from the character. A northern mother that feels so incredibly warm, tremendous levels of expression as doubt and regret settle in. The way Carlyle possesses this matriarchal power glues the ensemble to give a punch, but also the correct amount of nuance not to overplay such emotion. It is remarkable when a role performed night after night can feel so genuinely honest and raw.

Featuring as the titular brothers, Sean Jones and Joe Sleight (Mickey and Eddie respectively) provide a thoughtfully considered relationship that vocally and physically sets their worlds apart. Each mannerism develops through their ageing, maturing through into the hardships of adulthood. Highly commending Jones' performance, such a sharp juxtaposition from his earlier staging is expertly distressing.

This economic contrast is best portrayed through the actors. Although, the visual cues from both set and costume design cannot always convey it clearly enough. It can be the case that costuming appears cheap in its textures and shaping, falling down to the minute details that distract the vision. It is my understanding that the Embassy stage is too small for the Lyons' backdrop, which is taken into account, although the majority of Act 1 does not feel visually opposed enough to amplify that difference.

Sarah Jane Buckley's characterisation of Mrs Lyons is pleasantly investing, as a reserved mother becomes ridden with paranoia, descending to madness where families come to war. She evokes an odd sense of empathy, where her actions take grave responsibility. Yet there are attributes so deeply sensitive in Buckley's portrayal.

Reigning upon an extensive touring status, Bill Kenwright and Bob Tomson direct Willy Russell's musical with a unnervingly exciting tension. Repeatedly staging however, standards can relax and become complacent, only slightly losing the oomph to make it excel. The first time I watched Blood Brothers was during my GCSE period in 2019, where with years passing, the show still prompts an incredibly visceral response from audiences. Without a shadow of doubt, I would encourage all to experience the thrill of Blood Brothers, currently touring into 2025.