Theatre Review: Blood Brothers at Bournemouth Pavilion
On Thursday 16 April, I went to see Blood Brothers at Bournemouth Pavilion Theatre — and even before the curtain went up, it reminded me why this venue always feels like a proper occasion.
After finding a space in the busy car park, we headed inside and made a beeline for the Circle Bar. It was our first time up there and, honestly, it’s a lovely pre-show spot: we were served straight away, there was plenty of room to breathe, and it felt like a calm little escape while most theatre-goers gathered downstairs in the lobby.
Then came that familiar Pavilion anticipation as we walked into the auditorium. The seating layout can be a little tight, depending on who’s in front of you. So, we were especially pleased that the seats ahead of us were empty — giving us a perfect view of the whole stage. It made the entire experience better… and what an experience it turned out to be.
I first saw Blood Brothers in June 2002 and, somehow, I’d forgotten what an incredible piece of theatre it is. What made this return even more special was recognising that some of this cast were in the show back then too, albeit in different roles, which added an extra layer of appreciation to seeing it again.
From start to finish, the performance was spectacular. I laughed out loud more times than I expected, and then found myself holding back tears minutes later. That emotional whiplash is exactly what this show does so well when it’s in the right hands.
Vivienne Carlyle (Mrs Johnstone) set the standard from the moment she sang. Instantly, you could feel the quality: the vocals, the storytelling, the authority of an actor who knows exactly how to hold an audience.
Richard Munday (Narrator) was ever-present, connecting each moment perfectly. He barely leaves the stage, and the show relies on that thread, and he delivered it with total control. I also have to mention his voice: rich, clear, and effortlessly commanding, it carried the story beautifully.
But the standout for me was Sean Jones (Mickey). He brought the comic relief with real ease, but what impressed me most was how he handled such a complicated character. There were beautiful vocal moments, genuinely authentic connections with Mickey’s vulnerability, and then those abrasive, dangerous flashes as the story darkened. Jones took me on the emotional rollercoaster from the beginning, and I stayed with him right to the end.
Joe Sleight (Eddie) was equally strong, and the impact of Mickey’s journey wouldn’t land without Eddie as the counterweight. Their dynamic is the engine of the show, and it worked.
While every cast member deserves a mention, a few stand-outs really shone. Alex Harland popped up in multiple roles, and I enjoyed every single one, especially his teacher(s), which were an absolute joy to watch. Gemma Brodrick played Linda perfectly, and Michael Gillette (Sammy) was a brilliant rogue.
Francesca Benton-Stace stepped in as Mrs Lyons on this occasion, and we were not short-changed. Her portrayal was uncomfortably brilliant, and completely believable from start to finish. Mrs Lyons is a complicated character, and Benton-Stace told that story perfectly.
While Mrs Lyons does have strong vocal moments throughout, a real highlight came in the finale. As Mrs Johnstone stopped singing to place the brothers’ hands together, Benton-Stace’s voice soared across the venue with pure emotion. I was grateful to hear that beautiful tone, even if it was only for a fleeting moment.
And speaking of hearing vocals: the sound on the night was superb. I didn’t catch the technician’s name, but I’m genuinely grateful for his contribution. The subtle moments were handled delicately. And when the show needed to hit you, when you need to feel that resonance in your chest, it absolutely delivered. The clarity was simply perfect.
The direction was slick and very clever, and I’d recommend anyone to see this cast tell this beautifully sad story. Huge compliments to everyone involved.
