‘Blood Brothers’
Book, music and lyrics by Willy Russell
Directed by Ben Freeth
Musical direction by Caelan Thomas
Choreography by Reylene Rose Hilaga
Produced by Showbiz Christchurch
Isaac Theatre Royal
Until 27 September
Duration: 2.5 hours
Reviewed by Kineta Knight
On opening night of ‘Blood Brothers’, fate played its own twist when understudy Sophie Harris stepped in as Mrs Johnstone – and gave a performance of such conviction and maturity you’d never have guessed it wasn’t hers from the start.
In fact, if I hadn’t known Roz Harper was the original Mrs Johnstone, I would’ve thought Harris was excellent in this role, albeit perhaps too young. That aside, she brought an incredible amount of maturity to the stage, given the last-minute change and possibly coupled with opening night nerves. It was a pleasure to watch Harris shine, as she delivered each word, note and movement to perfection.
Kudos, too, to the entire production team, led by director Ben Freeth, for embracing the setback and having the presence of mind to have well-rehearsed understudies on standby. There really is no business like show business.
Were it not for Harris’s standout performance, the highlight of the night would have been David Bosworth’s striking set, lit with precision by Sean Hawkins. Showbiz just knows how to produce a show, together with their scores of backstage volunteers.
The production design supports the story – the set, lighting, and costume choices manage to evoke both the gritty realism of Liverpool’s working-class side and the contrasts with wealth. The way scenes shift (visually and atmospherically) helps underscore the themes of class divide and destiny.
The ubiquitous, haunting presence of the Narrator (Michael Sharp) carried the show, with Freeth utilising the height and depth of the set to bring an eerie level of unease as the Narrator told the tragic tale of the twin brothers separated at birth.
Jake McKay (Mickey) and Jordi Rea (Edward) made a good pair, their tale forming the emotional heartbeat of the evening. Their childhood chemistry sells the “blood brothers” bond, and their contrasting upbringings are played with nuance. Mickey’s journey from cheeky boyhood to adult despair is particularly affecting, while Eddie’s polished optimism becomes increasingly fragile.
McKay’s physicality is rather impressive, moving around the stage with incredible ease without making a sound when he lands. Oscar Days portrayal of Sammy was superb, and Krystal O’Gorman (Linda) was energetic, entertaining and, I’m certain, one to watch.
While the ensemble worked well together, at times the production might have benefited from a little more stage experience to fully match the otherwise high production values.
The score is strong, and the cast and band delivered the songs with clarity and emotional honesty. You feel the weight of the reprises, the longing and regret, the moments when the music pulls you up and when it lets you fall.
Vocally, the larger numbers carry well, with strong dynamics. Some of the softer or dialogue-songs may have suffered in clarity (some lines were lost, possibly due to sound mixing or projection) but not enough to undermine the impact.
If this show is done well, its ending should feel like a gut punch. The silence before the applause said it all – this ‘Blood Brothers’ delivers both the heart and the sting of Russell’s timeless tale.
