Blood Brothers

Tell me it's not true. Say it's just a story, Something on the news. Tell me it's not true, Though it's here before me.

Those are the touching words that open Blood Brothers, the musical that the far-sighted Executive Producer Richard Hallinan brought 13 years ago on an incredible journey from England to the Downtown Cabaret in Bridgeport for its American Premiere. It was a courageous act. Here was a theater known best for its good solid revivals. Would its audience support an unknown work? The answer was a resounding YES!

Aided by the support of our invincible colleague, the late Betty Tyler of the Bridgeport Post, to whose memory this powerful and heartfelt present production is dedicated, and enthusiastic reviews (mine included), this emotionally-charged musical melodrama with book, music and lyrics by Willy Russell, became a hit. It went on to Broadway, a national tour and is still playing in London after 17 years! Russell, who draws strong portraits, also wrote Shirley Valentine and Educating Rita. In this production, a gifted cast is directed brilliantly by Richard Sabellico and musically directed by Eddie Guttman on J. Branson's flexible set that must reflect both city and country. Costumed well by Gail Baldoni and fluidly lit by Hugh Hallinan, the show underscores the gritty realism of the depressing city of Liverpool while treating the entire cast of characters with love and respect. Because Sabellico does not over-sentimentalize the piece, and the poignancy is always pierced with humor, the emotion builds to a tearful ending.

For those seeing Blood Brothers for the first time, this tragic story of a mother over-burdened by poverty and class, trying to keep a family together against impossible odds, will seem fresh; those seeing it again will find it a revelation, as it follows the fate of twin sons separated at birth, questioning the issues of nature or nurture. It is the stuff of Greek and Shakespearean tragedy.

Australian Maree Johnson, a lovely actress projecting sweetness touched with necessary irony, is a standout as Mrs. Johnstone, the young mother of nine children. Most of these are illegitimate, because, as the haunting theme repeats throughout the show, she looks a little bit like Marilyn Monroe. Randi Redd brings a good athletic physicality and personal charisma to the role of Mickey, the twin who remains with his mother and suffers the consequences; Max Von Essen does handsomely and displays a strong baritone voice as Eddie, the twin given up to the affluent Lyons family by his mother, a maid in the household. The relationship between these two, who are inevitably drawn to each other, and between Mrs. Johnstone and Mrs. Lyons, played fervently by Kate Suber, creates tension that is palpable. A past winner of the Lucille Lortel Award for Best Debut from our Connecticut Critic Circle, Kirsten Wyatt is preciously endearing, adding a bright spirit as Linda, the girlfriend who marries Mickey. All three characters must age from around seven years old to grown-ups, and they do so convincingly.

While the flowing score is filled with a few too many reprises, it is effective. At times, the musical accompaniment is too loud and overwhelms the words that are being sung, but that is a technical adjustment that can be corrected. Blood Brothers is a production of which this theater can be proud.