Review: 'Blood Brothers'

 by Tabitha Richardson

‘And do we blame superstition for what came to pass? 

Or could it be what we the English have come to know as class?’

 

Since 1983, Blood Brothers has welcomed floods of theatre-goers into countless venues: a poignant depiction of the state of 1960s Liverpool. So why 40 years on is this still such a prosperous play?

Telling the tragic story of twins secretly separated at birth, who’s paths cross after each receiving a polar opposite upbringing, Blood Brothers has acquired much success- not only from its hometown, but nationally as well. Boasting over a 10,000 show run on the west end and numerous tours, I wondered why a musical like this has been supported by the tribulations of time: whilst others of that era have been left to collapse under the growing weight of irrelevance.

One factor of its success could be attributed to its emotive nature. Despite being dated in a 60's Scouse council estate ,Willy Russell has constructed an intricate score that contains morally grey dialogue of a thought provoking nature which is still tearing at the heart strings of today’s audiences. Aided by the show being performed by compelling actors, it has allowed the story to become somewhat immortalised through themes of friendship and nature vs nurture.

During my most recent visit, dotted around the Mayflower’s auditorium were various school groups. Both Edexcel and AQA have incorporated this moving text in their syllabus thus giving it a guaranteed steady stream of spectators throughout the years. It’s an apt show to study as I believe it portrays the class divides that are still prevalent today perfectly and prompts important discussions about if superstition really had a part to play in its tragic ending, or if it was simply the harsh injustice of inequality.

Ironically, a play that sheds a light on the depravities and contrast of class in Britain is ultimately inaccessible to the large lower class majority it represents. It's not a new revelation that an outing to the theatre has become ludicrously expensive, however the light being shed on this grievance is now brighter than ever as the UK struggles through a cost of living crisis. Celebrities like David Tennant and Ralph Fiennes have gone on record in the past months describing the prices as ‘worryingly high’ implying that it is a practice that cannot be continued. To which I have to agree, soon only the people who will be able to make theatre-going a frequent hobby will be the 1%, meaning the seats being filled will only decline. And if there’s no audience, there’s no show.  

5 years since I last saw it, Blood Brothers has not lost the effect it has on me, moving me simultaneously to both tears of sorrow and joy. Both times had a stunning set design, a remarkable band and a troupe of evidently experienced and convincing actors. But this time around I believed a nation could resonate with this story more - a mother who struggled to feed her children and the helpless circumstance of unemployment. Compared with 2019, this country has soldiered through many struggles, and has come out of them with some long-lasting injuries; so unlike the musicals of the past that have nearly been lost to time like Miss Saigon and cats, Blood Brothers has ensured itself a lifetime of relatability.

 If you have enough room to fit tissues in your pocket I would highly recommend seeing Blood Brothers, however, I believe you won’t need to rush as this powerful production doesn’t appear to be going anywhere anytime soon!