Theatre Royal Brighton – 10th – 14th February 2026
5 stars
A full standing ovation in Brighton says it all. Blood Brothers still hits hard. Willy Russell’s much loved musical storms into the Theatre Royal with confidence, heart and a seriously talented cast. Decades on from its debut, the tale of separated twins and sliding doors still draws gasps, laughs and, by the end, tears.
Liverpool mum Mrs Johnstone, already stretched to breaking point, gives one of her newborn twins to her employer, the childless Mrs Lyons. It is a snap decision wrapped in superstition and sealed with secrecy. The boys grow up a few streets apart, collide by chance and become firm friends, blissfully unaware of the truth.
Russell’s genius lies in how he wraps big themes of class and fate in everyday language. The jokes land easily in the first half, particularly in the schoolyard scenes, but there is always a sense that something darker is edging closer.
Vivienne Carlyle’s Mrs Johnstone is a force. She plays her as warm and funny at first, a woman juggling chaos with a shrug and a grin, but she never shies away from the character’s flaws. As the years roll on, you see the weight settling on her shoulders. Carlyle’s voice has real texture, especially in Marilyn Monroe, which she delivers with grit. When she reaches Tell Me It’s Not True, it is stripped back and aching, and you can feel the shift in the theatre.
Sean Jones is outstanding as Mickey. He nails the physicality of the scrappy seven year old, all wide eyed mischief and quick fire one liners, then slowly alters the posture and tone as adulthood bites. The humour never entirely disappears, which makes the darker moments all the more uncomfortable. His portrayal of a young man ground down by circumstance feels painfully authentic. You believe every step of his journey.
Joe Sleight’s Eddie could easily be the golden boy stereotype, but Sleight finds layers. He is charming and open, yes, but there is also an undercurrent of uncertainty. His eagerness to belong, to be liked for himself rather than his background, gives the role real depth. The friendship between Eddie and Mickey feels natural and unforced, which is crucial to the story’s impact. When cracks begin to show, it genuinely hurts to watch.
Richard Munday’s Narrator ties everything together with measured authority. Dressed in dark tones and armed with a rich, resonant voice, he moves in and out of the action like a constant reminder that fate is watching. He never overplays it. A raised eyebrow or a subtle shift in tone is enough to chill the mood.
The production itself keeps the focus where it belongs. The staging is clean and functional, suggesting Liverpool streets and interiors without too much fuss. The ensemble work is tight, and the live orchestra gives Russell’s score the lift it deserves. Songs like Bright New Day burst with optimism, only to be echoed later with a sharper edge.
With performances this strong, Blood Brothers’ tragic final moments land with full force. As the cast take their bows to cheers and a standing ovation, it is clear this old favourite still knows exactly how to break a heart.
Image credit – Jack Merriman
