BLOOD BROTHERS
Written by award-winning playwright Willy Russell, few musicals have been received with such acclaim as the multi-award-winning Blood Brothers. Considered ‘one of the best musicals ever written’ (Sunday Times), Bill Kenwright’s production surpassed 10,000 performances in London’s West End, one of only three musicals ever to achieve that milestone. It has been affectionately christened the ‘Standing Ovation Musical’, as inevitably it “brings the audience cheering to its feet and roaring its approval” (Daily Mail).
Perth Theatre is the only Scottish venue on the tour schedule
Niki Evans playing “Mrs Johnstone”
When did you last play Mrs Johnstone and how is it returning to the show?
I last played her in 2012 and returning to it was scary at first. The first time I did it I’d never done a musical or been a part of the theatre world so when [producer] Bill Kenwright called me I think I turned it down four times. I was like ‘No, you’re OK!’ but he persuaded me to audition, and my audition was terrible. But he saw something in me and within a week I was on stage in the Phoenix Theatre. It was such a whirlwind. Since then, I’ve done lots of other roles, mainly funny ones, so to come back to such a dramatic role is very scary but it’s like a dream come true. They’d asked me to come back before but I had to be ready, and now I am.
What makes her such an iconic musical theatre role?
It’s because of her strength and the emotions you have to go through when you’re on stage. She starts as a young girl in her 20s, then within 20 minutes she’s got seven kids and has to give one away. It’s a big part and it’s a big part for a woman, which is rare at my age. My window is tiny to get a part where you’re on for more than ten minutes. She’s a strong female lead and she’s so real. Every mother in this country can relate to her on some level because of how real she is. Every mother must see something in Mrs Johnstone that they’ve also gone through. I know I can. I’ve got two sons so her Micky and Eddie are my Morgan and Jonah. My kids have had troubles, I’ve had troubles, and the way I look at it is: I don’t have to play her, I just have to be her.
Are you discovering new things about her and the show this time round?
[Laughs] Yes, she’s not such a feisty tiger as I thought when I first did the show. They used to call me ‘The Feisty Tiger Mrs Johnstone’. I come from a family of four, we grew up on a council estate, we had no money, I used to go to school in jelly shoes even in November, and my mum was a tough cookie. You didn’t mess with her and that’s how I thought Mrs J. was or at least that she was how I was, like ‘Don’t mess with my kids or I’ll come at you with a baseball bat’. But now I’m older I’ve mellowed. I’m 50 now and I’m not so bouncy as I was ten years ago, so my take on her is much more grounded. She’s stronger without being quite so feisty.
It’s such an emotional rollercoaster for the audience. Is it the same for you as a performer?
It is, yes. There are a couple of parts in the show, without giving spoilers, where it rips me to shreds. I do it as though someone is about to take one of my children and I can’t hold back. I have to feel it every time I do it.
Does live theatre feel more important than ever, given what everyone has been through over the past couple of years?
I did two shows post-lockdown, namely Girls Just Wanna Have Fun on tour and the panto Peter Pan at the Wycombe Swan before going straight into Blood Brothers after just two days off. That first time I got back on stage I was petrified because I hadn’t done it for two years and had to open myself up again to people watching me. All your insecurities come back and you’re like ‘Am I good enough? Can I still do this?’ But the feedback from the audience, the love and the warmth – I can’t tell you what it means and how it feels.