Blood Brothers

Blood Brothers is a play that pushes the audience to run a gamut of emotions. When delivered correctly we are laughing out loud one minute and wrangling with feelings of desperation and sadness the next. PADOS’ production certainly took us on this emotional journey.

A simple set in an intimate environment acted as street, interior, hill tops and workplaces with clever use of blocks moved by the performers, two doors either side of the stage and two openings in the back flats served the play very well and allowed the characters to be the focus. A few choice props fleshed out particular scenes.  Although simple, the symbolic symmetry worked brilliantly to reflect the twin motif and nature/nurture debate. The lighting was sharp, and the true blackouts were appreciated. Yes, there were a few miniscule entrance/exit timing issues, twitched curtains etc but it being an opening night were completely forgivable and would no doubt have become slicker as the week went on – best not to compromise on the lovely powerful, sharp vision of these changes by elongating the transitions. Well done to the directorial and creatives choices here.

Simon Fletcher opened the show as Narrator and set the tone fantastically with a masterful and engaging delivery of the poetry sections this character communicates in. Throughout the whole play Simon authoritatively commanded our attention and made us sit up and listen. The pace and intensity were wonderfully explored and the unwavering focus on the audience gave such gravitas to the performance - the twinkle with any humour or wit of word and the grave and sinister touches when the words turned upsetting or serious. Congratulations.

In fact, all the verse sections were handled excellently – fluid when needed and mercurial and punchy when the mood needed to change – the repetition was celebrated -imagery given the correct time to land. The rhythm and energy in these sections is undeniable but it was obvious they were directed to allow us to enjoy the flow, but care was taken to not get too caught up in the rhythm at the expense of exploring the language, ideas, sentiment and meaning. Well done all involved in that creative area.

Mrs Johnston played by Sara Brockway was suitably downtrodden yet stoically loyal to her children and resigned to the life she’d been dealt. There were some lovely tender sequences played beautifully and the heart-breaking moments when left alone on stage at the end of scenes were realized with perfect timing and the anguish came through facial expressions wonderfully. A huge and draining role…well done!

Mickey portrayed by Kevin Whelan was a standout performance. Kevin gave us very young Mickey as a mix of Lee Evans/Norman Wisdom physicalisation alongside an adorable energy and delivery with real comic timing but not quite over played just the right side of zesty. Teenage Mickey was still full of hope but with a lovable naughty streak and then we got the disillusioned adult, hardened by what his side-of-the-tracks life has thrown at him. Kevin was completely immersed in Mickey and his thought processes and executed a believable character throughout. Compliments on a fabulous and captivating performance.

Jack Martin gave us a very genuine and sweet Eddie. This didn’t falter, all the way through he was sincere, and Jack really made us feel for the character because of this authentic benevolence portrayed. His actions therefore came across as genuine and without an ulterior motive which could have been lost with his love of Linda or with a sense of one upmanship with Mickey. This was important for the audience because it renders the loss even more poignant. A lovely character – congrats.

Linda portrayed by Charlie Lewis was completely likeable and the development of Linda’s character as she grows up was well thought out and acted. Full consideration was given to the relationship status in the scenes with Mickey and Eddie and the rambunctious and strong female nature of the portrayal was very appealing – well done.

Mrs Lyons was interpreted well by Angela Mayall. Particularly strong were the scenes with the flashes of anger and the anxiety and delusional behaviour was nicely construed. Again, another character that could be played sinister or calculating but it came across as deep desperation rather than manipulative or devious conduct. Well done.

Light relief came in the form of the Milkman, the Policeman and the Doctor, all three played by Mark Rosenthal competently squeezing out all the humour whilst still maintain the sharp and neat feel of the direction – a proficient turn.

Director James Schofield made some fabulous casting decisions and used its talents to great effect. Also wonderful choices in the points mentioned regarding staging and the treatment of the script. The comedy and tragedy was respectfully handled and the scenic flow was sharp and neat. A really enjoyable evening at a fabulous venue. Good job PADOS!

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