‘Blood brothers’ bloody powerful

Tom Titus

Superstition -- and the spirit of the recently deceased Marilyn

Monroe -- are elements at the core of the edgy musical “Blood

Brothers,” an English musical melodrama set in the Liverpool of the

mid-1960s and given a powerful revival at UC Irvine.

Twin brothers, separated at birth, with one raised by his natural

mother in near poverty and the other given to an upper-class family

-- since their single mother already had seven children to support at

the time -- form the crux of Willy Russell’s musical tragedy.

Russell, whose creative energy pervades the show, wrote “Blood

Brothers” as a nonmusical play, adding lyrics and music later, and

the focus is on acting and plot elements rather than lyrical quality.

At UCI, director Myrona DeLaney has mounted a steely, deeply

involving production, and her all-undergraduate cast responds with

vigor and imagination. The show is particularly effective when

several of the actors are playing children, interacting with one

another in a playground atmosphere in unbridled ensemble style.

Monroe’s influence is present throughout, in no fewer than three

of the musical numbers. The playtime of the first act gives way to

the harsh reality of the second, as the boys grow up, and the

less-fortunate one turns to crime to survive. Adding to the tension

is the fact that both love the same girl, even though they’ve sworn a

blood pact to be, figuratively, brothers, while unaware of how

accurate this relationship actually is.

We know at the outset that there will be no happy ending to this

story; the opening scene takes place at the funeral of both young

men. It’s been foretold that when they discover the truth about their

origin, both will die. Thus we await the inevitable as the boys’

story unfolds and wends its way toward a final conflict.

“Blood Brothers” is presented by a rough-hewn narrator who

strongly resembles the character of Che in “Evita.” Martin Giannini

excels in this grim, sardonic personage, preparing the audience for

the pitfalls that lie ahead with gleeful grimace.

At the center of the UCI production, however, is Katherine

McLaughlin’s superb performance as the mother of the two boys, who

lives in fear of the truth emerging. McLaughlin possesses the

brightness of character and depth of interpretation to carry this

conflicted character.

As the son she keeps, Zachary James Oldham turns in a fascinating

performance, which grounds itself in youthful appeal, then slides

into the darkness of addiction. Marcellus Waller skillfully enacts

his fraternal counterpart, raised in privilege but drawn to what the

English would term the “lower classes” to form a strong friendship

with his actual twin.

Another riveting performance is offered by Jordan Van Niel as the

supposed mother of Waller’s character, a self-styled superior being

desperately shielding her son -- and husband -- from the truth. Kurt

Anderson is a placid patrician in the latter role, earnest but

ineffectual.

One of the brightest spots in “Blood Brothers” is Kristen Brandt

as the young girl who spiritedly pursues Oldham’s recalcitrant

character until love finally blossoms. Jeff Hinderscheid is grim and

menacing as the boys’ older brother, a merciless thug from childhood

on, while Dylan Gibson is strong as the neighborhood policeman,

dealing quite differently with the families of a rich boy and a poor

one for the same offense.

Lindsey Ann Gassaway has fashioned a fine, utilitarian setting

which divides the haves from the have-nots. Tom Ruzika’s lighting

effects are excellent, particularly when the passions heat up in the

second act, and John Feinstein’s sound design dovetails splendidly

with Russell’s musical score, presented with a flourish by conductor

Dennis Castellano and his eight-piece orchestra.

“Blood Brothers” is a stirring, often disturbing musical drama,

which succeeds in large measure because of the power and passion of

its performances. It’s not seen that often (only once before,

locally) and deserves a look on this, its closing weekend.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.