Community theatre has a unique way of bringing people together, blending creativity and passion into every performance. It’s this sense of connection that makes community theatre something truly special, and Blood Brothers was a perfect example of how powerful this art form can be.
The first time I saw Willy Russell’s Blood Brothers was more than 20 years ago at the Royal & Derngate. I remember being struck by its emotional script and iconic musical score even then.
Directed by Lee Winston, this production adheres to Willy Russell’s original play script rather than the musical.
When I tried to book, the whole run had already sold out.
Set in The Holy Sepulchre Church, Northampton, with its Romanesque arches and thick cold stonework, a unique atmospheric atmosphere was created which provided a great backdrop to the emotional drama that was to unfold.
For those who haven’t met the Johnstone twins yet, Blood Brothers tells the story of two brothers separated at birth—one raised in comfort, the other in hardship. It’s great script, a combination of verse and prose is poignant, powerful, and peppered with humour and heartache in equal measure. Watching it now, post-The Feud on TV (where one phone call in the right ear grants planning permission), the theme of class privilege hit home harder than ever.
The Masque theatre’s cast brought real heart to their roles. Katie Bunting-Brown as Mrs Johnstone was a standout—gritty, warm, and totally natural as a mother trying to do her best in impossible circumstances. With the right blend of pathos and humour, she had the audience in the palm of her hand from start to finish.
Patricia Coleman, as the all-seeing Narrator, added a touch of menace with her steely stare, while Jake Turner (Mickey) and Anderson North (Edward) made a lovable and heartbreaking double act. They captured both the playfulness of childhood – no easy feat in the wake of some iconic West End performances – and the weight of adulthood with real sensitivity. I enjoyed seeing how their characters evolved.
Michaela Clement-Hayes brought a twitchy tension to the role of Mrs Lyons, while Mairead Kearins (as Linda) helped raise the emotional stakes as the brothers’ childhood friend turned love interest. Ian Bradley, multitasking his way through several supporting roles, brought a lightness of touch and a bit of comic relief, while Phoebe Kennedy, Elfin Hancock, Madi Barton and Gabija Bibaite, as Mrs Johnstone’s daughters, added energy and charm—did I spot a few genuine tears among them during the finale? That wasn’t to mention my own in the final scene!
The church itself felt like another character in the drama—a cold, watchful presence that added weight to every scene. And thanks to Philip Welsh’s clever lighting and sound design, that presence was felt right from the eerie notes accompanying the narrator’s entrances, together with some interesting spotlights.
At the interval, as I queued for a cup of tea alongside a family spanning three generations, I was reminded that this is what community theatre is all about; sharing stories, bringing people together and creating an engaging performance. It made for an atmospheric and interesting night out.
You couldn’t not go and see Willy Russell’s Bloodbrothers and not recall the stirring final number Tell Me It’s Not True from the musical adaptation. I felt compelled to find the song and play it in the car on the way home. Sitting to the side of the stage, I felt I could have benefitted from watching the action from the front, however the gothic Romanesque setting more than made up for it.
The Masque Theatre Company deserves a hearty round of applause for delivering a thoroughly enjoyable, engaging production.
With every show sold out, it’s clear that the Masque Theatre continues to be a much-loved part of Northampton’s creative scene.
To see more photos by Rebecca Cockcroft Photography visit: https://www.instagram.com/beccockcroft/
For more information on Masque Theatre visit: https://www.masquetheatre.co.uk/