Hull New Theatre – until 4th April 2026
Reviewed by Anne Walker
5*****
Having seen Willy Russell’s Blood Brothers a few times, I am always struck by how it still manages to be such a gritty, heart-wrenching experience. It has been a staple of British theatre for over forty years for a reason, and tonight was absolutely no exception. At its heart, the story follows twins Mickey and Eddie, separated at birth in Liverpool. One grows up in a cycle of extreme poverty while the other is raised in a wealthy, polished household. Despite their mothers desperate attempts to keep them apart, their lives stay tied together as they grow from kids playing in the street into ‘blood brothers,’ completely unaware of the truth until class and fate finally catch up with them.
The production is really anchored by Vivienne Carlyle, who is continuing her fantastic run as Mrs Johnstone. She brings a raw, maternal warmth to the part, and her vocals, especially during ‘Tell Me It’s Not True’ were just as devastating as ever. We also saw Sean Jones and Joe Sleight return as Mickey and Eddie. You might think playing these roles so often would make the performances feel a bit stale, but that was not the case at all. They both showed incredible range, transforming from high-energy, hilarious seven-year-olds into broken adults. Jones is particularly harrowing in the second act as Mickey spirals into despair, providing a sharp, painful contrast to Sleight’s more affluent, sheltered Eddie. Meanwhile, Kristofer Harding’s Narrator is a dark, haunting presence that looms over everything, constantly reminding us of the superstitious ‘deal’ that started the tragedy.
This performance is a perfect example of why the show is so famous for its standing ovations. It is brilliant at being riotously funny in the first half, perfectly capturing those innocent childhood games, before shifting into a heavy, social realist drama that still feels incredibly relevant. The show is a masterclass in building tension. It leaves the audience in a state of stunned silence (or at least it should have, if not for a few people in the crowd who chose to laugh at the wrong moments) before the inevitable standing ovation at the end.
The original creative vision from the late Bill Kenwright and director Bob Tomson is still very much alive here, focusing on the story rather than flashy spectacles. Andy Walmsley’s evocative Liverpool set and Nick Richings’ lighting create a real sense of time and place that only adds to the tragic mood. Ultimately, Blood Brothers is more than just a musical; it is a stark look into the British class system and the whole ‘nature vs nurture’ debate. It is a triumphant reminder of why Willy Russell’s work has such incredible staying power.