And in Willy Russell's Blood Brothers, the thick Merseyside monologue from the narrator has with it a true sense of doom.

He's omnipresent from the opening words: "Did you hear the story of the Johnstone twins?"

Even when he's not speaking or singing - Keith Burns' tenor voice is staggering - he's leaning up against a post observing his characters, badgering them from behind like the devil on their shoulders, or sidling up and handing them a crucial prop.

He hands over the Bible over which the deadly pact is sworn; so it feels like he's controlling it all - it's all his fault.

I went to Liverpool earlier this year. What an inspired place to have set this tragic tale. The streets near the two football grounds, Goodison and Anfield, are full of derelict buildings, shattered glass, boarded up windows and graffiti, and it is here that the Johnstones live.

I saw the same company present Blood Brothers at the Princess Theatre last year and couldn't wait to go back again.

To a degree, it's handy to know the outcome as you witness the story - there are plenty of references you know will be picked up on later.

Hopefully the Nolan family ignore reviewers like me, because I'd hate to instigate the sort of family feud found in the musical!

Sorry Denise, (last year's lead, Mrs Johnstone), but Linda wins hands down. Linda Nolan is wonderful.

The slight husky quality to her voice is perfect for the emotionally-charged showstopper Tell Me It's Not True; her lovely smile is just the thing for the doting mother she plays; and you could tell she really felt the lyrics deep down.

She joined the audience in laughing at some of the jokes, and she was wiping away tears at the end.

I thought Sean Jones (the working-class Mickey) was trying a bit too hard to be childlike - it didn't quite seem authentic - but as a grown-up, his drugged-up ex-con act was fantastic.

Alas, the adult Eddie (the more fortunate brother) is a respectable councillor, and the part becomes the less interesting of the two, but Drew Ashton had already won the audience's hearts as a touchingly naïve public schoolboy.

The supporting cast swap their mantles with ease and cleverly-crafted speed. This is even acknowledged in the story, as Mrs Johnstone observes that the doctor looks exactly like the milkman.

I bet half the theatre had seen it before. I was among the first to my feet for the customary ovation, and I swear there was a contest between some people down the front as to who could raise their hands the highest to make their appreciation quite clear.

It certainly is exhausting to watch. With laughs, frights and tears galore, you can't help getting carried away.

Let me know when it's on in Devon again, would you?