Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
The most ardent fan of Blood Brothers would have difficulty describing it as subtle. Willy Russell’s phenomenally successful musical knows exactly which heartstrings it wants to tug, and it does so with gusto. Sentimental family values; soap-opera love triangles; weepy ending—if you like your drama laid on with a trowel, you won’t go far wrong with this show.
It’s also a tricky play to stage well—the script is patchy in places, and the characters as thin as the wage packets in depressed Fifties Liverpool, where the action takes place. But there are some fantastic songs, and if you set your slush threshold high, it’s a lot of fun. This touring production pretty much nails the schmaltz—but a few cracks show, and they’re just where you wouldn’t want them to be.
Single mum Mrs Johnstone has so many children, she doesn’t know what to do. And she’s got twins on the way—so she secretly gives one to highly-strung housewife Mrs Lyons, who raises him as her own. Young Mickey and Edward meet—under extremely contrived circumstances—and soon become inseparable. But then they grow up; Mickey goes to jail; Edward falls for Mickey’s girl—and a Dramatic Climax, with guns and confessions galore, ensues.
Dodgy plot aside, there’s a lot of good stuff in this production. The X Factor’s Nicki Evans, of all people, is excellent as brassy matriarch Mrs Johnstone, and Tracy Spencer as Mrs Lyons is convincingly nervy in an unpromising part. The bluesy orchestra is fantastic, and Russell’s songs are as thrilling as ever.
Some aspects, however, are decidedly shaky. The younger characters are played by the same actors both as children and as adults: Sean Jones, as rough diamond Mickey, is irritating as the former and uninspiring as the latter. Menacing narrator Craig Price doesn’t so much stalk the stage as hover awkwardly around it—and he murders the show’s most famous song, Devil’s Got Your Number, which to this reviewer is just unforgivable.
Strong supporting turns come from Kelly-Anne Gower as feisty love interest Linda, and Graham Martin in a variety of roles. Andy Walmsley’s grungy set design is also a highlight. The show gathers pace in the second act, and you’d have to be pretty stony not to be swept along in the belting final scenes. But don’t expect the earth to move—and definitely don’t expect it to be subtle.
Playing at the Grand Opera House in York until Sat 21st, then touring.
I went to this production and thought it was amazing! I liked the fact that the same actors played both children and adults; it made it a little clearer to those who were unfamiliar with the storyline. All in all, good show!
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