BLOOD BROTHERS

The Alhambra

The bodies of two men lie beneath the long shadow of the Liver Buildings, as an ordinary-looking housewife in an old raincoat falls to her knees, consumed with a grief only a mother knows.

So begins both the opening and closing scenes of Willy Russell’s stirring tale of twin brothers separated at birth.

When Mickey Johnstone and Eddie Lyons first meet they’re fresh-faced schoolboys in short trousers. By their last meeting they’re grown men, one in a suit and tie with letters after his name, the other a broken pillpopper who is just another unemployment statistic.

Written 30 years ago as a school play, Blood Brothers reflects Liverpool in the grip of recession, and its themes of class divide, poverty and desperation remain depressingly relevant.

Russell’s concerns are fate, destiny and superstition. From new shoes on the table to lone magpies, Mrs Johnstone is fearful of bad luck but, with bailiffs never far away, she makes a decision that sends fate spiralling out of control. With a simple set and fast-paced scenes slipping seamlessly from warm and funny to poignant and tense, this is a beautifully-staged production.

With adults playing children and most actors taking on dual roles, the show depends on strong actors, and this cast did it proud.

Sean Jones was a terrific Mickey, taking him from cheeky scally to crushed spirit, and Matthew Collyer was equally powerful as Eddie, who got the bike with both wheels.

Strong performances too from Maureen Nolan, holding it all together as beleagured Mrs Johnstone, and Kelly-Anne Gower as sweet Linda.

My only gripe was that, despite them all wearing visible microphones, some lines were barely audible. But this remains a haunting morality tale that will stay with you long after the curtain has fallen.

Runs until Saturday.