Review! Blood Brothers at Richmond Theatre, May 2026

Blood Brothers, the iconic musical by Willy Russell and directed by Bob Tomson and Bill Kenwright, returns to the stage on its UK tour, now playing at Richmond Theatre for a limited run until 16th May, before taking a short break ahead of its autumn leg. From its opening moments, the production establishes a clear sense of inevitability, as the story unfolds with a steady, if somewhat predictable, momentum.

Set in Liverpool and framed by a foreboding narrator (Kristoffer Harding), who acts as both shadow and warning to the characters, while explaining to us how the production leans into themes of superstition and fate. The narrator introduces the idea through song that the tragic outcome may stem from something as simple as putting new shoes on the table (which he repeats a few times). The story follows twin boys separated at birth and raised on opposite sides of the class divide. Mrs Johnstone, struggling to provide for her family, is persuaded to give one of her newborn twins to her employer, Mrs Lyons. As the boys grow up unaware of the truth, Mickey in a lively but financially strained home, Edward in comfort and privilege, their eventual meeting feels unavoidable. When they do meet, their bond quickly deepens and they become “Blood Brothers”, whilst unaware that they are actually brothers.  This reinforces the idea that fate is always one step ahead.

The first act centres on Mickey (Sean Jones) and Edward (Joe Sleight) as children, portrayed by adult actors. This is achieved through clever staging and costume choices, including a slanted set (to make them shorter), oversized clothing and convincingly childlike physicality. While effective, the production lingers in this stage slightly too long, slowing the pacing. In contrast, the second act moves with greater urgency, following the characters into adolescence and adulthood, where the emotional stakes feel more immediate and engaging.

The set and lighting design by Andy Walmsley and Nick Richings is a standout element. What initially appears to be a simple street of houses, with a central playing space doubling as interiors, proves highly effective. Detailed brickwork, balconies and working doors create a strong sense of place, while the second act expands into a wider range of exterior locations, including a classroom, a prison and even a bus. The lighting supports this well, shifting between warmth in moments of joy and darker tones as the narrative develops, although these transitions can feel slightly predictable.

Musically, there are moments that stand out, particularly the narrator’s “Shoes Upon the Table,” which is undeniably catchy. However, its repeated use (5 times!) begins to lessen its impact, and a similar issue arises with “Marilyn Monroe,” which appears multiple times and somewhat loosely and weirdly draws parallels between Monroe’s life and that of Mrs Johnstone and her sons. While the cast perform with clear passion and energy, the score as a whole lacks the lasting memorability of more distinctive musical theatre soundtracks. I also thought that the beginning of the second act sounded like the opening theme tune of Eastenders which was actually appropriate for all the drama filled into the second act.

One of the production’s most effective elements is its humour, which comes as something of a surprise given the weight of the story. There are plenty of genuinely funny moments, particularly in the early scenes when the twins are children and the tone is lighter. Even in the second act, moments of humour are carefully woven in, offering brief relief while also highlighting how differently the brothers’ lives have unfolded. Mickey captures a cheeky, playful energy early on before revealing growing frustration and vulnerability, while Edward balances his bright-eyed innocence with an increasing awareness of how sheltered his upbringing has been.

At over two and a half hours, the production feels overly long, which impacts its pacing. Certain scenes, particularly in the first act, linger longer than necessary, and repetition within the score adds to a sense of drag. As a result, the emotional impact is occasionally diluted, with moments that should feel sharp instead losing momentum. A tighter edit would allow the story’s strongest elements to land with greater clarity and force, while maintaining a stronger connection to the characters throughout.

Overall, this touring production of Blood Brothers musical remains a well-performed revival of a much-loved musical. While its themes of class and fate still resonate strongly, its two-and-a-half-hour running time, coupled with issues of pacing and repetition, prevents it from fully reaching its emotional potential. It is an engaging watch, but one that doesn’t quite leave a lasting impact.

⭐⭐⭐

Blood Brothers continues to tour the UK, find your touring location here. 

Written by Emma Knott on behalf of The Theatre Flyer