Review: Blood Brothers, New Wimbledon Theatre

Willy Russell’s musical, Blood Brothers, has been wowing audiences for over 45 years. Now playing at the New Wimbledon Theatre, this stirring production proves that age has done little to dull its power. With a simple but rousing score and riveting storytelling, Blood Brothers continues to be a cultural touchstone, captivating both long-time fans of the show and (judging by tonight’s rapturous reception) new fans too.

Set against the backdrop of post-war Liverpool, the tale of the Johnstone twins – separated at birth and raised in vastly different social classes – remains a masterclass in tragedy, evidenced by its inclusion in the current GCSE English syllabus. While the story itself may be familiar to those who have seen the show before (it clocked up more than 10,000 performances in its West End run alone), its emotional potency has only grown: this present-day audience was stunned into almost unheard of silence by modern theatre-going standards during its most tender and shocking moments. The tension between the social divide that shapes the fates of brothers Eddie and Mickey feels even more relevant today, thanks to a widening economic gap between rich and poor, than it did in 1983 when it was first shown.

This touring production cast delivers a truly dynamic performance. Each actor brings something fresh to their role, while still honouring the legacy of those who have come before them (and the show has had more than its fair share of stars over the years). Particularly standout is the portrayal of Mrs. Johnstone by the incredible Vivienne Carlyle, who portrays her character with greater sensitivity than I’ve seen before. Also of note are Sean Jones as Mickey and Joe Sleight as Eddie, who take the swift trajectory from comedy to tragedy in their stride. Seán Keany, as the Narrator, delivers an amazingly powerful voice and suitably menacing manner, but he’s saddled with a role that unfortunately seems a little too melodramatic to contemporary ears.

The sets and lighting remain much as they have always been since Bill Kenwright’s original award-winning production, but that is not what is important in Blood Brothers.  This is a show carried along by its storytelling, emotional breadth and the dynamism of the compact ensemble as they weave in and out of a range of roles. In particular, Gemma Brodrick shines as Linda, the crucial pivot in the tragic breakdown of the brothers’ relationship.

It’s impressive how Blood Brothers continues to resonate with audiences after more than four decades – the jokes still land, the relationships still intrigue and the gut-wrenching impact of its finale still leaves the audience gasping. Perhaps because it started life as a play, it doesn’t really rely on music to deliver any of its power, though it is undoubtedly enhanced by its score; Russell’s music is deftly economical and never allows audiences to break the spell of the drama by applauding big numbers.

Blood Brothers has become something of a classic, and in the hands of this very capable cast, its legacy will continue to grow.  If for some reason you are one of the few people who has never seen this show, now is your chance. What are you waiting for?  And if you went to one of those 10,000 West End performances, I’ll wager you will enjoy it the second time even more than you did the first.

Written by: Willy Russell
Directed by: Bob Tomson and Bill Kenwright
Resident director: Tim Churchill
Music supervisor: Matt Malone
Design by: Andy Walmsley
Lighting design by: Nick Richings
Sound design by: Dan Samson

Blood Brothers is playing at the New Wimbledon Theatre until 8 March 2025, and touring the UK throughout 2025.