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Gritty, head-hitting and devastatingly relevant, James Graham’s powerful adaptation of Boys From the Blackstuff brings Alan Bleasdale’s BAFTA award-winning TV series back to life on stage, complete with a standout cast and plenty of scouse charm.
Set in 1980s Liverpool, during the height of Thatcher’s Britain, the play follows a group of working-class men navigating a world where the work’s dried up but the pride hasn’t. The story follows Chrissie, Loggo, Dixie, George and Yosser who have all signed on the dole, working cash-in-hand jobs with the ‘sniffers’ on their backs.
There’s grit, grief and moments of humour, as we see the lads try to keep going with nothing but determination. As such, it’s a heartwrenching story of desperation, vulnerability and the risks people were willing to take to earn a few quid to feed their families, heat their homes – to live.
Jay Johnson is outstanding as Yosser, delivering the iconic ‘Giz a job’ line throughout. His character is portrayed as quite comedic initially – a bit eccentric – but as the production wears on, we see real frustration and fragility behind his tough exterior. By the end, he’d firmly cemented himself as one of my favourite members of the gang.
Jurell Carter, familiar to many from Emmerdale, brings real charm and heart as Loggo. I thought it would be difficult to see him as someone other than Nate Robinson, but Jurell has done a grand job of reinventing his persona for the role. Sean Kingsley seemed to channel his inner Greg Davies a-la Mr Gilbert (The Inbetweeners) as Mr Malloy, though he effortlessly transitioned into multiple other characters, too, from priests to landlords and quirky pub punter.
While I can’t possibly mention everyone, it’s a really well-rounded and talented cast. From George Caple’s Chrissie Todd to Ged McKenna’s George – everyone is instantly likeable, except perhaps Moss (Jamie Peacock) but that’s to be expected.
It’s a tough watch at times, but never uncalled for – it’s just brutally honest. Still, the show knows when to let the audience breathe with flashes of humour throughout including a back door-front door back-and-forth (brilliantly directed by Kate Wasserberg) and Mr Shake Hand, while the banter between the lads keeps things human and relatable.
Boys From the Blackstuff is a play that wears its heart on its sleeve. It’s a tough, timely slice of social history and a deeply human story that still hits home today. Direct from the West End, you can catch it at The Regent Theatre this week until Saturday, June 14.
