Themes (Blood Brothers)

This section looks at the key themes highlighted in the play Blood Brothers by Willy Russell.

Willy Russell provocatively poses several inquiries to the audience through the unfolding narrative of Blood Brothers, particularly concerning the notion of societal equality. By juxtaposing twins with identical DNA but raised in vastly different familial environments, the playwright vividly illustrates the profound impact of life experiences on one's opportunities and trajectory.

Furthermore, Russell delves into the realm of superstition through the character of Mrs. Johnstone, prompting contemplation on whether fate governs our lives or if other influential factors hold greater sway.

Another thematic thread woven into the fabric of the play is that of violence, evident in Mickey's life from his introduction at the age of seven and escalating in severity until the tragic demise of both Mickey and Edward at the play's conclusion.

Social Class and Inequality 

Russell penned Blood Brothers in 1981, with its inaugural musical performance taking place in 1983. This period coincided with the tenure of Conservative Prime Minister Margaret Thatcher, a time marked by rampant unemployment, particularly in the industrial working-class regions of northern England, including Liverpool, Russell's hometown and the play's setting. Mickey and his family symbolise the working classes, who bore the brunt of the economic downturn, while Edward and the Lyons family epitomise the flourishing middle classes of the 1980s.

The dichotomy between the Johnstone and Lyons families serves as a poignant commentary on the profound impact of social class on one's life opportunities. From Mrs. Johnstone's employment under Mrs. Lyons at the play's outset, the chasm between their lives becomes glaringly apparent to the audience. This juxtaposition persists throughout the narrative, epitomised by the contrasting experiences of Mickey and Edward. Even in childhood, the twins' disparate realities are evident. While their friendship initially bridges the gap, as they mature, the chasm between them widens, proving increasingly insurmountable.

Margaret Thatcher espoused the notion that hard work could lead to success for anyone. However, Russell's portrayal of Mickey illustrates the fallacy of this belief. Deprived of the opportunities afforded to Edward, Mickey's prospects remain severely constrained, regardless of his work ethic and aspirations for advancement.

Superstition and Fate

Early on in Blood Brothers, Mrs. Johnstone's superstitions surface, providing a means for Mrs. Lyons' manipulation. This superstition, intertwined with themes of fate and destiny, grants Mrs. Lyons a semblance of control. The inevitability of Mickey and Edward's demise, evident from the outset, underscores the potency of the superstition relayed by Mrs. Lyons to Mrs. Johnstone, effectively manifesting it as reality. The Narrator plays a pivotal role in reinforcing this thematic underpinning, repeatedly reminding the audience of the twins' predetermined fate throughout the play. However, while superstition and fate loom large in Blood Brothers, Russell probes the validity of these concepts, positing whether social class ultimately exerts a greater influence over Mickey and Edward's destinies.

Violence

Violence pervades the lives of working-class characters from an early stage. Upon our initial encounter with seven-year-old Mickey, he engages in games with imaginary guns alongside his friends and neighbours, wielding a toy gun as a prop. As the narrative unfolds, this propensity for violence intensifies, ultimately culminating in the tragic demise of both Mickey and Edward. Sammy, Mickey's elder brother, emerges as a central figure intertwined with this theme, implicated in various acts of violence throughout the play. Reflective of a loss of control, violence emerges as a coping mechanism for characters confronted with diminishing agency, escalating as their sense of power wanes.