'Blood Brothers': a very good musical with fantastic choreography by Ariadna Peya

Blood brothers It originated in the early 1980s as a commissioned play for high school students. Shortly after, author Willy Russell adapted it into a musical that garnered acclaim in the West End, on Broadway, and also in Barcelona, with the 1994 production premiering at the Teatre Condal, directed by Ricard Reguant and co-starring Àngels Gonyalons. From the Condal's audience, Daniel Anglès learned the story of Mrs. Johnstone's twins, separated by their mother's precarious situation. He then joined the cast for the tour and has now taken on the direction of a new and successful version that deliberately distances itself from both the London and Barcelona originals.

Firstly, because Anglès eschews the realism of the original—except for the costumes (Marc Udina). It does so with a highly functional stage design (Alessio Meloni) that disregards the architecture of Liverpool, where the drama theoretically unfolds, and instead evokes a neutral wasteland with shipping containers. Secondly, but no less importantly, it has elevated Ariadna Peya's choreography to the point of making it the cornerstone of the production. In one of the most successful works I can recall, Peya excels in the energetic and frenetic choreographic phrases and the highly expressive group gestural compositions.

There is also a very interesting musical score by Andreu Gallén and a fluid translation by Albert Mas-Griera. There is, of course, good direction of the leads and excellent diction in the songs. Mariona Castillo is a very believable Mrs. Johnstone. Magnificent in the iconic Marilyn Monroe and exciting with the It can't be true which brings the tragedy to a close. One of the challenges of the play is the credibility of the actors who portray Mickey and Eddie as children, teenagers, and adults. Albert Salazar clearly enjoys himself and makes the audience enjoy himself as the lively, playful, and unfortunate poor brother, and Roc Bernardi handles a rather caricatured (perhaps even overly so) portrayal of the timid, naive, and wealthy brother very well. Tai Fati connects very well with Linda, especially as an adult. Triquell's narrator is adequate, though his enunciation could be improved. These Blood brothers These are the best proposals in the current musical theatre offerings in Barcelona.