Review of Blood Brothers
by Joseph Sirota in the Easy Reader
September 26, 2002
The old adage, Blood is thicker than water, has been proven in many investigations of twins separated and raised apart from birth who exhibit remarkably similar traits when reunited years later. The Kentwood Players' warm and poignant musical production of Blood Brothers (with book, music and lyrics by Willy Russell) shows that this not only makes sense biologically, it makes for great entertainment.
Blood Brothers has been wowing London audiences for 12 straight years. That the show now spans two continents is largely due to the insight and hard work of Kentwood director Ed Cotter, who so loved the work he twice traveled to London to see it, and with perseverance got the rights to do the musical here. The intriguing storyline and its modern, moving musical score are novel, universal and touching. In short, this Kentwood production is a spunky yet warmhearted collaboration between performers and director Cotter, musical director Dan Redfeld, and choreographer Victoria Miller.
Blood Brothers is more than the tale of twin brothers separated, yet destined to reunite as closest friends - despite radically different upbringings and ignorance of their relation. It's equally the tale of two mothers with totally different kinds of motherly love, one unselfishly giving and accepting (the birth mother), and the other obsessive, stifling and ultimately destructive.
Fertile Mrs. Johnstone, financially needy but winningly spirited and openhearted, is already the abandoned mother of a passel of kids when she finds herself pregnant with twins. Though she's counted each shilling so as to make ends meet on her maid's wages with one more mouth to feed, she's forced to agree to give the other twin away to her wealthy but barren employer Mrs. Lyons, who fakes pregnancy, telling no one the true origin of her new, longed-for son, Edward (not even her mogul husband).
The deed done, Mrs. Johnstone loves Mickey, the poor, ingenuous street urchin twin she kept, but also secretly enjoys seeing her "donated" son grow up strong, tall, rich and refined in the Lyons' stately lifestyle. Mrs. Lyons, however, is increasingly determined to sever all contact between her coddled Eddie and his birth mother. She fires Johnstone and moves away to a country estate to end the natural friendship that's bonded the two seemingly totally different boys.
Writer Russell cleverly re-connects the loves of the separated brethren, and they continue to share an uncanny closeness that comes to an emotional head when, as young men, they find they have each grown to love the same childhood playmate, Linda. Economic stresses pressure the love triangle farther.
The story is told (and sung) with ironic, moody overtones by narrator Jeffrey James Ircink. The characters similarly perform their way through the highlights and tragic lowlights of their lives via music and lyrics that are consistently wise, witty, but often poignantly sad. Carmen Lynne as Mrs. Johnstone is phenomenal, exuding equal parts coquettishness, motherly love and the weight of a poor woman making do in life. It's all here: fine vocals and a delightful presence.
Susan Stangl as Mrs. Lyons is suitably iron-like and sternly determined in expressing her nearly suffocating love for her secretly adopted son. She chillingly shows us that even love, if misdirected, can lead to despair. August Vivirito is a sprightly, lovable Mickey, the street twin with good heart, who ultimately succumbs to poverty's weight. Jonathan Zenz is perfectly attuned to creating the pampered, well-bred twin, longing for some street fun, openness and true love in his sheltered life.
Jennifer Richardson is an effusive Linda, well cast as the flowering young woman who wins the hearts of both twins. Each featured player matches their acting licks with vocal skills, making the production a true musical rather than a play with tacked-on songs. The large supporting cast is thoroughly pleasing.
Musical accompaniment is nicely supplied by simple, effective keyboard arrangements, played by musical director Dan Redfeld. Choreography by Victoria Miller works inventively well in the limited space. The simple, somewhat abstract, flexible set by Max Heldring Stormes is very effective, giving an ethereal, timeless air to the universality of the subject matter. Lighting by Richard Potthoff, sound by Kathi Thompson and costumes by Maria Cohen all contribute to a fine naturalistic production. The company captures the energy and impact of a larger budget show, with the always-dedicated Kentwood team under producers De Cotter and Carla Coppock making it look almost easy.
Program notes relate that the London production of Blood Brothers has been called "a deeply moving and beautifully delivered piece of theatre" by London Broadcasting. "It has a hauntingly beautiful score." I agree with the British description as applied to this very admirable, exceptionally entertaining local show. I'd also add that when community theaters take the risk and challenge of such fine, lesser-known, complex works, they should be rewarded with our attendance. Too often the very best, most ambitious productions are poorly attended due to lack of play name recognition. Don't proliferate that road to riskless mediocrity! This one's deserving.
Joseph Sirota
The Easy Reader
Hermosa Beach, California
September 26, 2002
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