Blood Brothers
When I became aware that Willy Russell’s “Blood Brothers” was opening for business at the Whitefire Theatre in Sherman Oaks, I leapt at the chance to take it in. Over the years, I had heard over and over again about this wonderful musical that had moved audiences to tears since its inception over 25 years ago in London. Sadly, I saw nothing at the Whitefire to justify all the ballyhoo. The show was a relentless cacophony and the plot, while a very interesting premise, has a beginning so paper-thin as to render it unbelievable.
“Blood Brothers” tells the story of brothers Mickey (Eduardo Enrikez) and Eddie (Ryan Nealy) who are separated at birth when their single mother (Pamela Taylor), in an effort to alleviate her ever-growing financial burden, gives Eddie away to the Lyons, the wealthy couple that employs her as a housekeeper. The Lyons are unable to conceive, and with Mr. Lyons out of town for several months on business, Mrs. Lyons (Judy Norton) brings Eddie home and tells her husband that she had carried the baby to term while he was away.
While the notion of separating children at birth can inspire musings on genetics vs. environment, and good vs. evil, the contrived manner in which the boys are separated is hard to swallow. Does Mr. Lyons not care to wonder at all why there were no medical bills or pre-natal doctor visits by his wife? Do none of the neighbors wonder why a woman comes home with two children, but shortly thereafter, only has one?
This plot peccadillo aside, the show still doesn’t stand up. Mickey, as a young boy, is shrill and obnoxious; and his mother, who forever sings about her woes, can hardly be a sympathetic figure when she keeps spitting out kids she can’t pay for. Mrs. Lyons character is one-note and unlikable, and while the actors seem to have decent voices, the songs are insipid and forgettable, seemingly on an interminable loop as they are repeated endlessly.
One of the songs, an apparent homage to Marilyn Monroe, is curious since the play itself makes no mention of, nor any allusions to, the blond bombshell. Nevertheless, this song seems to be the show’s linchpin, recurring time and time again???? The annoying ever-presence of a narrator (Gil Darnell), who wanders in and out of the action while singing the same song, adds to the general vexation of this play. And as long as I’m kicking a show while it’s down, I have to mention the glaring presence of wireless microphones used by all the actors. No effort was made to conceal the mikes, and one has to wonder why they are necessary at all to project to a 75-seat house.
Perhaps something was lost in translation as this play made its way over the pond to the U.S., but it’s never a good sign when you attend a musical but dread the musical numbers. By the end of “Blood Brothers,” the only song I wanted to hear was one sung by the fat lady.
“Blood Brothers” is running October 18th to November 23rd with shows on Fridays and Saturdays at 8 pm, and Sundays at 3pm. Get tickets by calling (866) 811-4111 or going to www.BloodBrothersLA.com.