Blood Brothers

The Sunderland Empire Theatre

There seems to be a common misconception – particularly amongst less accomplished theatre critics – that the future of ‘Blood Brothers’ depends, predominantly, upon the continued casting of a Nolan in the lead role of Mrs Johnstone. This, in my opinion, is completely wrong.

Having seen three of the sisters (Bernie, Linda and Maureen) play the part, I am the first to emphatically acknowledge and applaud their significant contribution to the success of the show over the last twelve years. However, I do not consider it necessary or fair to be ‘wary’ or ‘concerned’ if one of the aforementioned siblings does not occupy the position of leading lady in Willy Russell’s modern masterpiece.

After all, the list of actresses who have donned the care-worn smile and crossover pinny to portray the Liverpudlian single mother ‘with seven hungry mouths to feed’ reads like a ‘who’s who’ of popular music. They include Barbara Dickson, Kiki Dee, Petula Clark, Carole King, Helen Reddy, Clodagh Rodgers, Marti Webb and the current incumbent, Lyn Paul.

Having starred in both the West End and several touring productions of ‘Blood Brothers’, Lyn was hailed, in December 2008, as ‘The Undisputed Mrs Johnstone of All Time’ by fans of the show on the Blood Brothers Online website. She is also rumoured to be producer Bill Kenwright’s  favourite Mrs Johnstone, too.

No pressure there to deliver the goods then, Lyn!

Yet, from the moment she stepped out onto the stage, I felt certain that Miss Paul’s performance would live up to - and perhaps even exceed – my personal expectations.

She looks just right and is vocally impressive, too. Her voice is powerful without being harsh and it is strong enough to travel throughout the auditorium, raising hairs on the backs of necks as it goes. What differentiates Lyn Paul’s performance from most of her peers is her decision to play Mrs Johnstone as a much softer, more sensitive woman. This adds another dimension to the character and effectively stamps Paul’s own personal trademark on the role.

It seems futile, to me, to outline the plot of ‘Blood Brothers’ in this review. Suffice to say that if you don’t know anything about the show that is affectionately dubbed ‘Scouse: The Musical’ then the past quarter of a century has completely passed you by. Instead, it seems more appropriate to focus on the performances and the production.

Whilst I was greatly impressed by Lyn Paul’s depiction of Mrs Johnstone, I am not sure that I’d rate her as my all-time favourite. I’ve seen the role performed by Siobhan McCarthy, Helen Hobson, Marti Webb and the three members of the Nolan clan mentioned earlier. I also have cast recordings of Barbara Dickson, Petula Clark and Stephanie Lawrence.

The Liverpudlian accent is notoriously difficult to mimic convincingly and if a performer is unable to master it perfectly, then it is prudent to underplay it rather than force it as Marti Webb did during her brief stint as Mrs J.  Lyn Paul chooses to err on the side of caution and only gives the merest hint of a Scouse twang.

Where Miss Paul really shines is in her portrayal of a torn mother. The scene in which she inadvertently reacquaints herself with the twin son that she gave away as an infant eight years earlier is heart-rending and played perfectly.

Sean Jones and Simon Willmont were billed as the twins, Mickey and Eddie, who are separated at birth and grow up on opposite sides of the social-class spectrum. However, an announcement made prior to the performance informed the audience that the role of Mickey would be played by the understudy, David Cooper.

As usual, Willmont was outstanding in his portrayal of ‘posh’ Edward. Unfortunately, though, Cooper – despite his seemingly obvious attempt to make the most of his opportunity – fell short as scruffy Mickey, and this affected the portrayal of the relationship between the two brothers.

Robbie Scotcher – one of the best narrators that I have ever seen – gave his usual polished performance. His understated portrayal of this sinister spectre from the shadows combined with the haunting beauty of his singing voice creates a lasting impression for all the right reasons.

Paula Tappenden, as the neurotic and paranoid Mrs Lyons, seems to deliver her lines through a mouthful of marbles, whilst Tim Churchill, as Mr Lyons, mutters and mumbles throughout his performance. You’d think that the middle-class couple, of all people, would have had elocution lessons in their youth. Certainly, though, something needs to be done about diction in both cases.

There is no disputing the status of ‘Blood Brothers’ as a contemporary classic. It has captivated audiences all over the world and won a plethora of awards. However, in my view, the production standards have been allowed to slide.

The relentless rigours of constant touring are beginning to show on some of the scenery. Whilst peeling wallpaper may add an air of authenticity if it were evident in the Johnstone household, it looks out of place and downright tatty when seen in the Lyons’ home.

Since producer Bill Kenwright took charge 21 years ago, the show must have made him a tidy sum. Well, Mr Kenwright, it is about time you started putting in instead of taking out. Failing that, pass the reins over to someone who is prepared to invest some time, money and effort into the phenomenon that is ‘Blood Brothers.’ Having recently celebrated its silver anniversary, it would be a travesty if the brand was allowed to tarnish now.

Steve Burbridge.

Blood Brothers runs at The Sunderland Empire until Saturday 26 September 2009.

Evita

Theatre Royal, Newcastle

The dramatic story of the life of Eva Peron is being brought dazzlingly to the stage of the Theatre Royal in Bill Kenwright’s production of the Andrew Lloyd-Webber and Tim Rice classic, ‘Evita.’

Having seen the show some fourteen years ago, when Marti Webb starred in the title role, I must confess that it became one of my favourite musicals right there and then. The 1996 film starring Madonna and Antonio Banderas further reinforced my opinion, so this new production had a lot to live up to.

Notices stating that the role of Eva would be played by understudy Natalie Hope caused me a little unnecessary concern prior to curtain-up, but from the minute Miss Hope set foot on stage she proved that she possessed the ‘star quality’ required to play Argentina’s most iconic first lady.

Seamus Cullen, a finalist from ‘Any Dream Will Do’, plays Che Guevara and, although he is vocally excellent, unfortunately, his performance lacks the cynicism and edginess that actually defines the role.

Mark Heenehan, as Peron, has a suitably imposing stage presence and an exquisitely clear voice which results in each and every one of Tim Rice’s lyrics being heard perfectly throughout the auditorium.

‘Evita’ features an array of show-stopping musical numbers, such as ‘Oh, What A Circus!’, ‘High Flying Adored’, ‘You Must Love Me’ and, of course, ‘Don’t Cry For Me Argentina’ and each and every one of them is delivered beautifully.

A particular highlight, though, is Carly Bawden’s rendition of ‘Another Suitcase In Another Hall’ which is performed with poignancy and tenderness.

The choreography is slick, stylish and executed with military precision. Indeed the entire production has a sophisticated tone that is evident from start to finish. The set is simple whilst also being elegant and functional and the costumes are indicative of the opulence of Eva’s lifestyle.

Overall, this production is a thrilling and spectacular revival of a musical masterpiece.

Steve Burbridge.

 'Evita' runs at the Theatre Royal, Newcastle until Saturday 4 July 2009.

Rent

The Customs House, South Shields, Tyne & Wear

From first impressions, a musical that deals with issues including poverty, homelessness, jealousy, betrayal, drug addiction and the AIDS epidemic, doesn’t sound like a whole lot of fun.

‘Rent’ is, more or less, a modern-day take on Puccini’s famous opera La Boheme. Its storyline is rooted in the realities that were the ‘rent riots’ which were the culmination of spiralling rent increases in Alphabet City, New York, during the 1980s.

The plot follows the lives of seven friends, Mark (Jordan Branthwaite), Roger (Jonathan Bell), Mimi (Jade Thirlwall), Collins (James Alexander Hall), Angel (Andrew McKay), Joanne (Amber Glover) and Maureen (Alice Brown), beginning on one Christmas Eve and ending the next.

Despite the fact that director Gareth Hunter has assembled a cast consisting of considerable vocal and acting talent, Jonathan Larson’s script provides slim pickings for them. There is virtually no dialogue, which hampers the actors with characterisation and makes it harder for the audience to follow the plot and place each character into context. The ‘issues’ tackled seem to come straight from a ‘shopping list’, too.

However, the energy and enthusiasm emanating from the stage somehow allowed this reviewer to overcome these shortcomings and almost enjoy the show.

ION Productions have an enviable reputation for producing shows of the highest quality and there is no doubt that Gareth Hunter is a theatrical impresario, but unfortunately, in my opinion, ‘Rent’ is by no means a representation of their finest work.

However, there were yowls of approval from the audience on opening night and, as far as I could tell, only one yelp of dissent. Judging from the standing ovation, ‘Rent’ must be pleasing the majority.

Steve Burbridge.

‘Rent’ runs at The Customs House, South Shields until Saturday 13^th June 2009.

Jolson & Co: The Musical

Reviewed at Theatre Royal, Newcastle

The life of legendary performer Al Jolson is being played out on the stage in the sensational bio-musical, Jolson & Co.

 Known as ‘the world’s greatest entertainer’, Jolson was arguably the most successful star of the first half of the twentieth century. By 1920, he was America’s most famous and highest paid entertainer and he took the leading role in the first ‘talking picture’, The Jazz Singer in 1927. His life, however, was born of humble origins.

Asa Yoelson was born in Lithuania in 1886, the fourth child of Moses Reuben Yoelson and his wife Naomi. When he was eight the family emigrated to America, and by the time he was eleven he had been bitten by the showbiz bug and was singing, with his brother Hirsch, for coins on street corners.

Allan Stewart gives a breath-taking performance as Jolson in this stylish and sophisticated production. His voice is exquisite, full and powerful as he belts out Jolson’s biggest show-stoppers.

The show cleverly takes the format of an interview between Jolson and radio presenter Barry Gray at Broadway’s Winter Garden Theater in 1949. Significant events in his life are reconstructed in the form of flashbacks, revealing to the audience that it was not entirely made up of only glamour and glitz.

Indeed, Jolson’s personal life provides plenty of dramatic content and Stewart’s skilful performance reveals a man who needed constant reassurance from his adoring public, a man capable of loving an audience of thousands and yet unable to give himself to only one woman. Indeed, Al Jolson, it seems, was seduced by his own fame, wealth and success and spiralled into an egotistical, domineering control freak.

Only three performers appear on stage throughout this high-calibre show – Stewart, as Jolson, and his co-stars Donna Steele and Christopher Howell, who both play in excess of eight roles each.

Miss Steele is a talented actress, singer and dancer who is compelling to watch. She plays Jolson’s mother, three of his wives and Hollywood actress Mae West, too. Every character is successfully honed and so carefully drawn that you really are not conscious of the fact that they are all being portrayed by just one actress. Likewise, Christopher Howell plays a multitude of male characters, also with great aplomb.

Credit should also be paid to Chris Hayward who, as Head of Wardrobe and Costume Supervisor, adds an authoritative air of authenticity with a fabulous array of costumes and shoes.

Designer Morgan Large has provided a simple but highly effective stage that, rather than detracting from the drama, subtly enhances it

The inclusion of musical numbers including ‘Babyface’, ‘My Mammy’, ‘Swanee’ and ‘California, Here I Come’ gives the audience plenty of opportunity for tapping their feet and singing along, and concludes the show on a happy, nostalgic note. Miss it at your peril!

Steve Burbridge.

Jolson & Co: The Musical is at Theatre Royal, Newcastle, until Saturday 18^th April 2009.

All The Fun Of The Fair

UK National Tour

Reviewed at Sunderland Empire Theatre

All The Fun Of The Fair, as the title suggests, is set against the backdrop of a travelling funfair that is struggling to survive in the late seventies. Starring David Essex as funfair owner Levi Lee and featuring almost all of his hits, it was always going to be something rather special.

Without giving too much of the plot away, the story opens with Rosa, the funfair’s resident gypsy clairvoyant reflecting upon a series of dramatic events that form the framework of the story.

Louise English, as Rosa, is no stranger to show-stopping musicals and has graced the stages of the West End often, receiving rave reviews for her many accomplished and polished performances. In All The Fun Of The Fair, she delivers the performance of a lifetime; phenomenal isn’t adequate enough a word to describe it. Her solo performance of ‘A Winter’s Tale’ is richly seductive, with diction that is as clear as a bell and the entire audience seem to fall under the spell of this mysterious gypsy fortune-teller. Miss English bestows Rosa with a hidden vulnerability beneath the feisty exterior that pays testament to her extraordinary talent as an actress and gives the character added depth of emotion.

David Essex inhabits the role of Levi Lee effortlessly and dominates every scene with a stage presence that is tangible. His performance as the fairground owner has an edge that exudes sexiness and danger and the women in the auditorium lapped it up.

Paul-Ryan Carberry, making his professional debut as Jack, grabs the role with both hands and gives a fine performance.

The fairground set is amazing and has an air of authenticity that is increased further by carousel horses, dodgem cars and motor bikes – you can almost smell the hot dogs and taste the candy floss!

There is always the danger that musicals based around the hits of an artist or group simply crowbar a story around the music and lack any real plot – not in this case. All The Fun Of The Fair seamlessly combines a thrillingly original storyline with some fantastic pop classics.

Steve Burbridge.

For more information and tour dates/venues visit www.allthefunofthefairmusical.com

“So did y’ hear the story of the Johnstone twins?”

Well, if you haven’t you must! The phenomenon that is Blood Brothers has been captivating audiences for 25 years now and, although this musical is celebrating its silver anniversary, it can only be described as pure gold. Willy Russell’s moving tale of two twin boys who are separated at birth and grow up on opposite sides of the social-class spectrum, only to meet up again with devastating consequences, has established itself as a contemporary classic around the globe. From the West End of London to South East Asia the multi-award winning musical plays to sell-out theatres every night.

Having seen the show several times before, the characters and plot are familiar to me but, despite that, Blood Brothers grips me each and every time with its poignancy, humour, tenderness and tragedy.

The role of Mrs Johnstone is surely one of the most coveted in musical theatre and the struggling single mother “with seven hungry mouths to feed and one more nearly due” has been played by such well-known actresses as Barbara Dickson, Petula Clark, Kiki Dee, Stephanie Lawrence, Helen Reddy, Carole King, Lyn Paul and Marti Webb. However, it is the Nolan sisters who seem to have a well-earned monopoly on the part. Having seen her siblings, Linda and Bernie perform as Mrs Johnstone, Maureen Nolan had a lot to live up to as she donned the cross-over pinny and care-worn expression. And boy, did she do herself proud!

Nolan presents the audience with the quintessential ‘Mrs J’ – maternal, understanding, compassionate, earthy, warm and darn sexy, too. In addition to a phenomenal acting performance, she delivers her musical numbers with meaning and conviction and her voice is clear, rich and full of emotion.

Sean Jones, as Mickey, and Simon Willmont as Eddie are outstanding. It can’t be easy to convincingly play a seven year old child but both of them achieve it admirably, capturing every childhood nuance accurately. The transition to teenager, then man, is equally convincing. Both actors display great skill with the many poignant scenes that they share and the contrast between ‘posh’ Edward and ‘scruffy’ Mickey manifests itself perfectly in their performances. Jones makes the most of Mickey’s comedic qualities without ever over-playing them and Willmont gives Eddie an endearing vulnerability.

Anna Sambrooks plays Linda, the girl both boys fall in love with. She, too, gives a fine performance throughout, especially in the scene where she tries to persuade Mickey to stop taking the anti-depressants that have transformed him into an empty shell of a man. But her finest moment comes at the finale when she is gut-wrenchingly emotional.

Robbie Scotcher plays the significant role of the Narrator, a spectral figure who personifies the moral consciences of Mrs Johnstone and Mrs Lyons, and his performance is as strong and sinister as it should be. His ominous presence hovers around like a dark storm cloud on a sunny day and his strong and powerful voice is hauntingly beautiful.

The strong supporting cast includes Tracy Spencer and Babette Bell who play Mrs Lyons and Donna-Marie respectively. Daniel Taylor is bad-boy Sammy and Tim Churchill is Mr Lyons.

Blood Brothers is a production that goes from strength to strength, its appeal growing over the years rather than diminishing. It is so powerful a play that it can be watched time and time again without losing any of its emotional impact or social relevance.

Wherever it is performed, Blood Brothers receives a standing ovation from an approving audience and last night was no exception. This production is heart-warming, tear-jerking, uplifting, devastating and, above all else, brilliant!

Steve Burbridge.

 
Performances

Monday 19^th January 2009 – Saturday 31^st January 2009

Evenings at 7.30pm

Matinees at 2.00pm (Thurs)

                        2.30pm (Sat)

Running Time

2 hours, 50 minutes (including interval)

Tickets

£13.00 - £36.00

Telephone:   08448 11 21 21

www.theatreroyal.co.uk