Joy in a terrific revival

Willy Russell's Blood Brothers is not a blockbuster musical, with precision dancing and songs to whistle when leaving the theatre; but it may well outlive many of those which fit that description. It has a genuinely moving and tragic plot, populated with wholly credible characters, and the songs - both words and music - flow from and are totally integrated into the story. This revival at the Gaiety is a terrific realisation of the work's many strengths, and a joy to experience.

Greek tragedy blends with later superstition in the tale of the twin brothers who, separated at birth and unaware of their relationship, are continually thrown together as friends. Mickey stays with his working class family; Eddie is brought up in the posh Lyons household by a purported mother who dreads his learning the truth, and tries to prevent it. But she cannot, and the moment of revelation brings with it a fearful climax.

While scene-setting the harrowing developments to come, the first half is also full of fun. Rebecca Storm is fine, and musically exceptional, as the life-loving deserted mother forced by poverty and circumstance to surrender a twin.

There is still laughter in her family, and Mickey's life is a sunny one when Eddie strays into it from the big house not far away. They become the closest of friends, with tomboy Linda usually in on their act.

Mickey becomes a poorly paid labourer while Eddie moves towards the good life. The title takes on an added and discordant meaning in the harsh denouement. Within all of this, the songs add to the mood, lifting the light-hearted scenes and underscoring the sad ones with melancholy. Rebecca Storm's singing and show-biz status entitles her to the top billing, and she is eminently worth it. But the star of this show will for many, including me, be Paul Crosby as the funny, captivating and finally tragic Mickey. Others to shine are Mike Dyer's Narrator, Nicholas Hart as Eddie, Sarah Mowat as Linda and Annette Yeo as Mrs Lyons. There is not a single weak performance from the rest of the cast.

As directed by Bob Tomson and Bill Kenwright, designed by Andy Walmsley and lit by Vince Herbert, the performers have all the backing they need to deliver this enormously entertaining production. They deserved their standing ovation last night; the first, I am sure, of many to come.

Runs to 4th July