Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐⭐

So here we find ourselves as Blood Brothers embarks on its 42nd year on opening night at the Lowry Lyric Theatre. The one thing I love when going to the theatre is sitting in the foyer waiting for the show to start. The anticipation from the audience chatting and excitement knowing they are in for a great show. Blood Brothers is no exception to this, hailed the “standing ovation musical” this show promises to be “unmissable”, bringing audiences worldwide to it feet with “applause” and “approval”. With such acclaim its a wonder that this is my first time seeing Blood Brothers, I too share the same anticipation and hope as the audience members currently waiting to take their seats.

Blood Brothers originated as a short play written by Willy Russell in 1981, a play that 2 years later he developed into a full musical; its very first performance was January 8th 1983 at Liverpool Playhouse with Barbara Dickson and Andrew Schofield taking the lead roles. Russell often explores themes of social class inequality, fate, the importance of family and friendships. So the big question for me is, after over 4 decades and countless worldwide performances does Blood Brothers still fit into today’s society.

Bob Thompson’s and Bill Kenwright’s direction of Blood Brothers bring this show to life, as the plot centres around twins who were separated at birth only to be reunited with tragic and disastrous consequences. Russell’s talent is further seen in the Blood Brothers score which is driven by the raw and real  problems of working class life, it is this generic quality that has resulted in the show being dubbed “the Liverpudlian Folk Opera”. Instead of using the music to drive the plot, I would argue the songs act as characters themselves allowing them to serve as a chance for the protagonists to reflect. Moreover the music is very simplistic, mainly comprised of piano and saxophone. This combination of an understated score and little to no moments for applause from the audience made the show more haunting. The first applause being at end of the first half and the second  at the end of the show.

The set was very minimal and understated – the main focal point was the Liverpool skyline, the green country landscape and the terrace housing. This occasionally changed to show the Lyon’s residence or Mrs Johnstone’s new country abode. Again a very clever production choice as it allows the plot to drive itself.

Russell’s signature style of social values and inequality are presented in such a way that it almost feels like he is trying to stun the audience into the reality of working class hardships. The difference between Mickey and Eddie’s upbringing highlights the age old question of nature versus nurture. We see the twins navigate through their childhood and adolescence with the normal teenage rebellion and peer pressures as Russell appears to be asking the audience – how far does fate play a part in the journey to adulthood.

Reprising their roles are Sean Jones as Mickey Johnstone and Joe Sleight as Eddie Lyon. Sean Jones’ portrayal of Mickey is quite brilliant as he brings a raw and real authenticity to the character; and honestly watching him I can’t help but draw multiple parallels with todays society and the social and political problems we are seeing in 2025. Similarly Joe Sleight’s characterisation of Eddie pairs perfectly with Jones’ and at times you forget you are watching a show – more if feels as though you’re a fly on the wall for conversations you shouldn’t be hearing.

Straight from the west end – Vivienne Carlyle’s Mrs Johnstone is emotionally charged, she presents Mrs Johnstone in such a haunting way that you cant help but feel sorry for her. Her continuous reprise of Marilyn Monroe further shows how tragic this character really is. The audience see Mrs Johnstone’s bravery in making hard family decisions and instantly see the devastation these decisions cause. The song “Tell Me It’s Not True” can’t fail but bring a tear to your eyes. Paula Tappenden returns as Mrs Lyon’s, her Thatcherite fashion and conservative values demonstrate the difference between the 2 mothers. Kristofer Hardings continues his role as the narrator, continuously breaking the fourth wall with his Shakespearean style rhymes, he almost forces the audience to question their own morals. Gemma Brodrick’s portrayal of Linda brings humour and light to the show – but again fate does not spare her from hardships.

In conclusion, Blood Brothers is not for the faint hearted – it is not a happy mood boosting musical, rather it is a gut wrenching take on society and how far are we in control of our destiny. It’s almost Dickensian in its portrayal of working class hardship presented alongside wealth and entitlement. Coming back to my original question at the start – does Blood Brothers still have a place in 2025? Yes, absolutely it does. Kenwright and Thompson bring Russells play to life remarkably well, through an emotionally charged score and characters who could quiet easily fit into today’s society. It’s rightly earned the title of ‘standing ovation musical’ and I couldn’t help but join in. It could be argued that not only is Blood Brothers still relevant today but I would go further and say we need more shows like this in theatres – and the fact that this show was written in 1981 and is still selling out venues worldwide in its 42nd year completely justifies this view, and it rightly deserves a 5 star review.