Very little, really; however, I must try. This latest production, opening a new tour at Milton Keynes Theatre, continues the format of old and brings the story still vibrantly to life. Also, this new tour still includes someone who is now as much a part of the show as Russell himself. Sean Jones has now played Mickey, the youngest of the Johnstone twins, for well over twenty years, and you can see why. The role is truly his now, and his dedication to it is as remarkable as the show itself in many ways. He brings so much to the character, from the playfulness of youth to the broken man he is to become; they could not be so different. It is almost impossible to think of the show without him in the cast.
The rest of the cast is equally top-notch, and many have played their respective roles before on tours, making this a cast with strong familiarity with the show.Vivienne Carlyle's Mrs Johnstone brings a slightly lighter touch to the role than past incarnations, bringing the hope for the future more than the downtroddenness often depicted, allowing especially for a less contrasting transition into the Bright New Day number that culminates the first act.
This lightness and more emotional take also influences Kristofer Harding's Narrator, who, especially in the second act, cares much more for the characters in his story with more emotion than I have seen before. Danny Knott as Eddie is a delight, an awkward and brilliant sparring partner for Jones' Mickey. His development from child to adult is not quite as stark as Mickey's decline, but still, Knott provides genuine progress from kid to councillor.
Both Paula Tappenden and Tim Churchill, as Mrs and Mr Lyons, return to their roles, and Tappenden, especially, is brilliant in her decline and distress; her character, haunted by her past, is desperate for life to become both under her control and far from the shadow of the Johnstones. The rest of the cast is fabulous, and as is always the case with Blood Brothers, there are many multi-character roles for the performers, often portrayed with humour in Russell's script.The set and staging are as simple as they have always been, with very little adaptation needed, because this is a story about humanity and its characters, and is in no need of complex visuals. The music produced by musical director Jeremy Wootton and his band is of the highest quality, with a perfect sound level that allows the vital storytelling lyrics to be heard throughout.
There is deliberately no happy ending to Blood Brothers, avoiding the frivolous world of much musical theatre; however, its gritty realism is what makes the show such a stirring success, alongside its stunning catalogue of songs. Blood Brothers is a show that deserves endless repeat viewings, this being my own fourth time, and in this production, there is perhaps a little more light than darkness, even if the Johnstones' tale still ends in sorrow. A true classic of this and any time.
Did you hear the story of Blood Brothers, the musical that everyone must see?
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