Bill Kenwright's perennial production of Willy Russel's Blood Brothers returns to Glasgow with Lyn Paul returning to the central role of Mrs Johnstone.
The show is a moral parable that remains surprisingly moving, despite the somewhat odd structure of the show; being made up of occasion poetry, abstract and Brechtian staging together with gritty realism, all to tell the tale of two twins separated at birth after Mrs Johnstone and the woman she works for, Mrs Lyons, strike an unusual bargain. Russel asks whether it is nature or nurture that influences the path a person can take and, whist he offers no real answers, the diverging paths of the twins makes for intriguing viewing.
Russel's compositions are easy on the ear and though there may not be a huge amount of varieties in melody, his lyrics are witty and moving in turns and he has written two of the most emotionally striking songs in "Easy Terms" and the devastating finale, "Tell Me It's Not True". In the hands (or vocal chords) of such a great singer as Lyn Paul these numbers reach new heights.
Russel's compositions are easy on the ear and though there may not be a huge amount of varieties in melody, his lyrics are witty and moving in turns and he has written two of the most emotionally striking songs in "Easy Terms" and the devastating finale, "Tell Me It's Not True". In the hands (or vocal chords) of such a great singer as Lyn Paul these numbers reach new heights.
The cast feature some old favourites including Sean Jones as Mickey and Mark Hutchinson as Eddie (who I first saw in the role more than 20 years ago in London's West End) and both continue to breathe fresh life in the roles whilst the newer additions are mostly as successful, though Sarah Jane Buckley's Mrs Lyons verges more on the melodramatic than appropriate as opposed to the Narrator of Dean Chisnell which was suitably subtle with a firm, strong voice. Danielle Corlass' Linda is also another acutely measured performance that shines.
Lyn Paul's Mrs Johnstone is an understated, yet precisely attuned acting and physical performance tightly balanced with her stirring and assured vocals. The emotional resonance in her performance is replete and her song delivery can be equally joyous and heart-breaking.
Sadly, the production is starting to show its age and could do with updating starting with the orchestrations which have occasionally been updated since the 1988 West End opening (which was itself updated from the original - non-Kenwright produced - 1982 production's orchestrations). Typically Kenwright neglects to credit the orchestrator but, regardless, the arrangements have become terribly dated and new orchestrations are in order. Also the various pieces of underscore that have also been added throughout the London run need to be examined as the number and effect is excessive in places.
The design by Andy Walmsley, itself slightly updated from the London version, is perfectly serviceable as is the lighting by Nick Richings but it is unfortunate that the performance was marred by a poor sound balance which left the cast barely audible at times whilst the volume of the band became excessive so I do hope this is rectified sooner rather than later.
The direction by Bob Tomson and Bill Kenwright remains effective - if safe - and I was left wondering how successful a completely new production would be if Kenwright were brave enough to pursue that avenue. But I doubt he will.
The design by Andy Walmsley, itself slightly updated from the London version, is perfectly serviceable as is the lighting by Nick Richings but it is unfortunate that the performance was marred by a poor sound balance which left the cast barely audible at times whilst the volume of the band became excessive so I do hope this is rectified sooner rather than later.
The direction by Bob Tomson and Bill Kenwright remains effective - if safe - and I was left wondering how successful a completely new production would be if Kenwright were brave enough to pursue that avenue. But I doubt he will.
Altogether Blood Brothers remains a stirring, emotional and enjoyable production despite the various negative aspects of its aged production. Ultimately it is Russel's material and the cast that elevate the production.
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