Review by Rosie Holmes
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If you're looking for a night of light-hearted laughs and escapism, then Boys from the Blackstuff might not be the right play for you, but if you're in the mood for a poignant, biting, and at times bleak examination of life during the Thatcher era, then James Graham’s play is a thoughtful and astute piece that does not beat around the bush when it comes to its social commentary. Based on the 1982 BBC2 series of the same name by Alan Beasdale, this adaptation delivers an unflinching portrayal of Liverpool’s working-class men who find themselves trapped in the cold, unforgiving grip of unemployment and its crushing effects. Having previously enjoyed successful runs at Liverpool’s Royal Court, The National Theatre and the West End, it makes a stop at Richmond Theatre as it embarks on a UK tour.
Set in the L8 postcode of Liverpool, the play follows a group of five men who were once employed in laying tarmac—the ‘blackstuff’—before being conned out of their money and losing their jobs. As they join the dole lines and search for alternative, often illicit, work, we witness their sense of identity and masculinity deteriorating. The play presents a clear portrait of these men’s lives, grappling with poverty, loss, and the harshness of a government that has abandoned them.
The performances by the large cast are wonderful, with George Caple delivering a deeply compassionate portrayal of Chrissie Todd. Caple plays a mild-mannered man caught between his moral compass and the desperate need to provide for his family. His performance is poignant, deeply portraying the internal struggle his character faces. Jay Johnson’s portrayal of Yosser Hughes is particularly remarkable. He captures the raw intensity of a man on the brink, teetering between rage and despair. Johnson conveys both the pain of his character’s situation and his desperation for survival with remarkable depth. Yet, whilst his fragility is apparent, Yosser also delivers some of the funniest scenes in the play, ensuring the darkness is also peppered with light.
Ged McKenna plays George, the father figure of the group. His portrayal radiates wisdom and warmth, offering a sense of stability to the men despite his own heartbreak. His grief over the loss of his son is one of the play’s most emotionally charged moments, showcasing McKenna’s ability to portray loss with subtlety and depth. However, some of the supporting characters, such as ‘Loggo’ played by Juriel Carter and Mark Womack’s ‘Dixie’ feel a little underdeveloped. The adaptation from a five-part series to a stage production inevitably means that some characters do not receive the same level of attention and development as others. While this does not detract from the overall impact of the play, it leaves a sense of unfinished potential for these characters.
The pacing of the play feels deliberately paced, its not a fast-paced show full of twists and turns. Instead, it takes its time to delve into some of the characters’ lives and the harsh realities they face. The show immerses you in the slow, steady grind of life in 1980s Liverpool, where hope is as hard to come by as a decent job. The twists in this play aren’t dramatic; they’re the quiet, crushing realities of life itself. While the play deals with difficult and often uncomfortable subject matter, it is also marked by moments of human connection and camaraderie. The relationships between the men, their shared history, and their jokes and banter provide brief respite from the otherwise harsh circumstances of their lives. These moments of friendship and solidarity are essential, as they highlight the enduring strength of human connection.
Amy Jane Cook’s set design is magnificent. The wrought iron and cranes transport you to the industrial heart of Liverpool. Behind the action are digital screens, creating at times visually impressive backdrops, though at times it did feel a little unnecessary. Still, the stark opening scene, where the men stand in the dole line under their numbers, is a striking visual reminder that to the government, these men are just a statistic—yet, as we quickly learn, each one of them is far more than that.
Ultimately, Boys from the Blackstuff is a powerful exploration of masculinity, pride, and change in a time of economic upheaval. Led by strong performances this play offers a poignant commentary on the challenges faced by the working class in the 1980s, whilst also highlighting the importance of human connection.
Boys From The Blackstuff tours until 5th July. Selected dates and tickets here
Photos by Alastair Muir