Review: BLOOD BROTHERS, King's Theatre, Glasgow

Willy Russell's Blood Brothers has returned to our stages. The moving story follows two brothers born in Liverpool who are separated at birth, destined to lead very different, only to meet again with tragic consequences. Now in its 30th year, the most recent UK tour is currently playing the King's Theatre in Glasgow.

This particular tour, directed by Bob Tomson and Bill Kenwright, has been billed as Lyn Paul's "farewell tour" after playing Mrs Johnstone regularly over the past 20 years, but for tonight's performance and the remainder of the Glasgow run, Amy Robbins will be playing the role.

Reprising her West End and touring performance, Robbins brings a spectrum of emotions to Mrs Johnstone: strength, determination, helplessness and a heartfelt vulnerability.

Robbie Scotcher menacingly follows her and the other characters around, always watching, as the Narrator, reminding us and the characters on stage of the tragedy to come.

Alex Patmore's Mickey bounces off the walls, a ball of energy as a seven - nearly eight! - year old, opposite Joel Benedict's sweet and naïve Eddie, and their rapport remains as they grow into young men.

Paula Tappenden plays the overprotective Mrs Lyons with desperate paranoia, and Danielle Corlass steals many scenes as Linda.

The first act dwells perhaps too long in the boys' infancy; it feels like the show finally settles into a good rhythm at the top of the second act when the twins are teenagers and later adults, high energy and full of gags amidst the tension, much to the audience's delight.

Andy Walmsley's set design is certainly impressive, from the twinkling Liverpool skyline to the immersive semi-detached brick houses. The class lines are evident in the costumes, from Eddie's spotless uniform to Mickey's holey and stretched out jumpers.

Nick Richings' lighting design makes good use of contrast for the lighter and darker scenes, particularly the menacing red used as the show reaches its climactic end.

Matt Malone's musical direction brings out the grooves, charm, and drama of the score, although it is sad to see that the pit band had been reduced even further from the 9-piece line up in the 2012 West End production, to half a dozen musicians. There is only so much that can be imitated by keyboards for a story of this gravitas. Ironically, the sound mix also overpowered the singing at times, making it difficult to hear those distinctive Liverpudlian accents.

Inequalities in the UK, highlighted by the pandemic, continue to dominate our headlines as we emerge into a post-Brexit era. This may be one of the reasons this tale of luck and loss across class continues to draw audiences back. The resounding final number, "Tell Me It's Not True" brought many in the King's Theatre to their feet. Blood Brothers is back and audiences are thrilled.

Blood Brothers at King's Theatre Glasgow until 9 October, then continues on tour

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