Blood Brothers

I have played a lot of musical theater shows in the Pit Orchestra. This was the only time I was mentioned in a newspaper review.

Blood and guts

Palo Alto Players take risks, succeed with dark musical 'Blood Brothers'

By Joan Burdick - Correspondent  - The Independent (serving Redwood City) - May 8, 1999

The Palo Alto Players is currently presenting a truly beautiful and artistic production of the London smash hit "Blood Brothers". The Players have to be given credit for taking the risk and producing this modern dark piece of musical theater.

While the story - twin brothers separated at birth by a mother who can afford to keep on one - could delve too deeply into melodrama, this production is focused, well-etched, and beautifully staged.

Not knowing of their relationship, the siblings grow up in Loverpool divided by the invisible barrier that keeps wealth and poverty apart. By the rules of mythology, the two eventually meet and become instant friends and blood brothers. Their fate, however, is a hero myth that ends in tragedy, not redemtion.

The stark Liverpool setting is visible upon entering the Lone Star Theater in Palo Alto, signaling to the audience the stylish nature of the production, which plays through May 16.

Subtle lighting bathes the set. An old brick wall at stage left is aglow in red (portent of the play's ending). The industrial skyline against the far wall is lit in varying shades of turquoise and grays with a rust-red grid in the foreground that spans the entire width of the stage. In the center is a half-round platform that angles down into the floor at its center. This makes for a very actor-friendly set design - every action is totally visible. Scenic designer Ron Gasparinetti and sighting designer Michael Palumbo get the credit for bringing a professional polish to the Palo Alto Players.

"Blood Brothers" demands a strong ensemble and it was clear director Sid Cato brought one to the boards at the May 1 performance. The musical begins in stark silhouette as the ending vignette enters this strange story of wrong decisions leading to bitter conclusions. By the time the two mothers, played by Narelle Yeo and Lan McKenna, moving sing the duat "My Child," it's obvious that the ensemble is secure in its singing ability. The case, acting as children playing children's violent games in "Kids Game," eerily pre-dates the dialogue nationwide following the tragedy of Littleton, Colo.

At the end of Act I, when G. Scott Kaufman as Mickey takes the stage and delivers "Long Sunday Afternoon," there occurs a perfect ensemble moment with actor and plaintiff and exceptional soprano saxophone (Syd Polk).

Several lead performers stand out, including Natalie Yeo, who brings a wam, womanly quality that hints at her idol, Marilyn Monroe, to the character Mrs. Johnstone. Her voice is velvety and strong.

David Sattler, as the narrator, has a charismatic presence, striking good looks, and unusual voice quality. However, he needs to clarify his Liverpool accent since some of the story is lost in his diction.

Lane McKenna works well as the neurotic, selfish adoptor of the twin, Edward, while Eli Borggraefe carries of the difficult part of the softer twin with poise, grace, and a beautiful voice.

G. Scott Kaufman in the demanding roles of Mickey supplices the cap on this potent case. His energy, vitality, and physical agility create an endearing Mickey, the unlucky twon. With a strong baritone, and great audience rapport, his is the magnet performance - hard to keep one's eyes off him. Khanh Doan as Lind and Jun Fernandez as Sammy are solid. Doug Brook is believable as the absent father, Mr. Lyon.

This production is artistically directed (Sid Cate), choreographed (Bob Macke) and technically well-executed. The musical direction by Mark Hansen brings this modern score to lfie with the help of sound designer Grant Huberty.