Context & Introduction

Understanding the context of Blood Brothers is essential for achieving top marks at GCSE. The examiner wants to see that you can connect Willy Russell's choices to the social, political, and cultural world he was writing about. This lesson covers Russell's background, the historical setting of the play, and why Blood Brothers remains a powerful critique of British class division.

Willy Russell: The Basics

Fact	Detail
Born	1947, Whiston, Lancashire (near Liverpool)
Background	Working-class; left school at 15 with no qualifications
Occupation before writing	Hairdresser, warehouse worker
Blood Brothers first performed	1983 (West End musical version)
Other major works	Educating Rita (1980), Shirley Valentine (1986)
Genre	Musical tragedy / social drama

Russell grew up in a working-class family and experienced first-hand the limited opportunities available to people from disadvantaged backgrounds. His writing consistently explores themes of class, education, and social mobility.

The Historical Setting

Blood Brothers is set primarily in Liverpool during the 1960s, 1970s, and early 1980s. Understanding the economic and social conditions of this period is crucial.

Post-War Liverpool

After World War II, Liverpool was a thriving port city, but by the 1960s and 1970s, the docks were declining. Unemployment rose sharply, particularly among working-class communities.

Key features of the period

Industrial decline — factories and docks closing, mass unemployment.
Slum clearances — inner-city terraced housing demolished; families relocated to new towns (like Skelmersdale in the play).
Class divide — a rigid gap between the working class and the middle class, with very different life chances.
Limited social mobility — your postcode, accent, and family background largely determined your future.

Thatcherism and the 1980s

The play's later scenes are set during the era of Margaret Thatcher (Prime Minister 1979–1990). Thatcher's policies are crucial context:

Thatcher Policy	Effect on Working-Class Communities
Monetarism	Interest rates rose; businesses closed; unemployment soared
Privatisation	Public services sold off; job losses in nationalised industries
Cuts to welfare	Benefits reduced; poverty increased
Anti-trade union legislation	Workers lost collective bargaining power
"No such thing as society"	Individual responsibility emphasised over community support

By 1981, Liverpool had one of the highest unemployment rates in the country. Russell uses Mickey's unemployment and despair in Act 2 to dramatise the real human cost of these policies.

Examiner's tip: When writing about context, avoid simply listing Thatcher's policies. Instead, show how Russell uses these conditions to shape his characters' fates. For example: "Russell presents Mickey's descent into depression and crime as a direct consequence of mass unemployment, reflecting the devastating impact of Thatcher's economic policies on working-class communities in 1980s Liverpool."

Class in 1960s–1980s Britain

The class system is the central concern of Blood Brothers. Russell presents class not as a natural fact but as a social construct that determines life outcomes unfairly.

Class	Characteristics in the Play	Character
Working class	Poverty, overcrowding, limited education, manual labour, debt	Mickey, Mrs Johnstone
Middle class	Comfortable home, private education, financial security, status	Eddie, Mrs Lyons

The Education Divide

In the 1960s–1980s, the education system reinforced class division:

Comprehensive schools (for most working-class children) — large classes, fewer resources, lower expectations.
Private/grammar schools (for middle-class children) — small classes, better resources, pathways to university.

Russell dramatises this through Mickey and Eddie: despite being twins with identical potential, their educational experiences are completely different because of their class backgrounds.

Examiner's tip: Use the term social determinism — the idea that your social class at birth determines your life outcomes. Russell's entire play is an argument against social determinism, showing that Mickey and Eddie's different fates are caused by environment, not inherent ability.

Liverpool Culture

Russell deliberately sets the play in Liverpool because the city embodies both working-class resilience and working-class suffering:

Strong sense of community — loyalty, humour, solidarity.
Musical traditions — Liverpool has a rich musical heritage (The Beatles emerged in 1962), which Russell draws on through the musical theatre form.
Scouse identity — pride in local identity, but also stigmatised by the rest of the country.
Catholic traditions — large Catholic population; Mrs Johnstone's superstitious nature links to Catholic folk beliefs.

Musical Theatre as a Form

Blood Brothers is a musical — a play that uses songs, spoken dialogue, and dance to tell its story. This is not simply a stylistic choice; it has thematic significance:

Feature of Musical Theatre	How Russell Uses It
Songs	Express inner emotions, advance themes, create mood
Repetition of motifs	"Marilyn Monroe" refrain tracks Mrs Johnstone's fading dreams
The Narrator	Functions as a Greek chorus — comments, warns, judges
Dramatic irony	The audience knows the ending from the start
Heightened emotion	Music intensifies the tragedy and makes the class critique more powerful

Russell chose the musical form because it allows him to combine entertainment with political commentary — audiences are moved emotionally by the music while absorbing a serious critique of class inequality.

The Narrator as Greek Chorus

The Narrator in Blood Brothers is one of its most distinctive features. He does not participate in the action but stands outside it, commenting and warning.

In ancient Greek tragedy, the chorus performed a similar function:

Commenting on the action for the audience.
Warning characters of danger.
Representing the voice of society or fate.
Creating a sense of inevitability.

The Narrator's repeated warnings — "the devil's got your number" — create a sense of fate and inevitability that hangs over the entire play.

Examiner's tip: When discussing the Narrator, use the phrase "Greek chorus figure." This shows sophisticated understanding of dramatic conventions. You could write: "Russell employs the Narrator as a Greek chorus figure whose recurring warnings of doom create a pervasive atmosphere of tragic inevitability."

Superstition and Fate

Mrs Johnstone is deeply superstitious. She believes in fate and bad luck, which makes her vulnerable to Mrs Lyons's manipulation.

Key superstitions in the play:

Shoes on the table — Mrs Johnstone believes this brings bad luck; Mrs Lyons exploits this fear.
The "secret" of the twins — Mrs Lyons convinces Mrs Johnstone that if the twins ever learn they are brothers, they will both die.
The Narrator's warnings — "shoes upon the table and a spider's been killed" reinforce the idea of fate.

Russell uses superstition to explore a deeper question: is the twins' fate determined by superstition, or by the class system? The play suggests that it is class and inequality — not fate — that kills them.

Why Was Blood Brothers Written?

Russell wrote Blood Brothers for several interconnected reasons:

To expose class inequality — the play dramatises how two genetically identical boys have completely different life outcomes because of their class backgrounds.
To critique Thatcherism — the play shows the human cost of economic policies that destroyed working-class communities.
To entertain and move audiences — the musical form makes the political message accessible and emotionally powerful.
To draw on his own experience — Russell grew up working-class in Liverpool and understood the barriers that class creates.
To question nature vs nurture — are we shaped by our genes or our environment?

Key Context Revision Checklist

Summary

Blood Brothers was written in a world of deep class division, economic decline, and political upheaval. Willy Russell uses the story of separated twins to dramatise how the class system — not fate, not genes, not superstition — determines life outcomes. Understanding the context of 1960s–1980s Liverpool, Thatcherism, and Russell's own working-class background is the foundation for everything that follows.