Review: Boys From the Blackstuff at LOWRY ‘packs a hard-hitting emotional punch’

Alan Bleasdale’s Boys from the Blackstuff has long been regarded as one of the most hard-hitting and poignant depictions of life in Thatcher’s Britain, and James Graham’s powerful stage adaptation brings this BAFTA-winning classic into sharp focus for a new generation.

Currently touring the UK, this latest production arrives at LOWRY following its acclaimed runs at the Royal Court, the National Theatre, and London’s West End.

Directed by Kate Wasserberg, this reimagining is as timely as it is timeless, shedding light on the stark realities of 1980s Liverpool against the backdrop of mass unemployment and economic hardship.

Boys from the Blackstuff at LOWRY

Set in the bleak streets of a post-industrial Liverpool, Boys from the Blackstuff tells the story of five former road-workers, now out of work and struggling to survive in a society that has left them behind.

The titular “blackstuff” refers to the tarmac they once worked with, but now the men face a different kind of black stuff—despair, frustration, and a lack of opportunity. Chrissie, Loggo, Yosser, Dixie, and George are just a few of the characters grappling with the crushing weight of unemployment, and the performances from the ensemble cast bring their stories to life with grit and emotional depth.

George Caple plays Chrissie, whose emotional collapse forms the spine of the narrative. Caple’s portrayal is deeply affecting, capturing Chrissie’s internal struggle as he contemplates a job offer from the morally ambiguous Mr. Malloy (Sean Kingsley, excellent in a multifaceted role).

The tension between Chrissie and his wife, Angie (Amber Blease), is palpable, and their scenes together are a highlight of the production. Caple and Blease expertly build the pressure, making the eventual confrontation in Act 2 all the more riveting.

Jay Johnson as Yosser

At the other end of the emotional spectrum is Jay Johnson’s portrayal of Yosser. While his character initially seems like comic relief (giz a job, giz a job, go on giz one), Johnson deftly navigates Yosser’s descent into desperation. Yosser’s attempt to reclaim his dignity through the church is heartbreaking, and Johnson’s performance turns what could be a one-note character into a poignant study of a man unravelling. That’s not to say, he doesn’t oversee some hilarious moments. It’s a pitch perfect performance.

The weight of his journey lingers long after the final scene.

Mark Womack returns as Dixie, a man burdened by his personal and professional failures. Womack brings a sense of weary resignation to the role, and though his storyline is sometimes overshadowed by the larger arcs, he nonetheless adds depth to the ensemble.

Similarly, Jurell Carter’s Loggo, while somewhat sidelined in terms of plot, injects moments of levity with his running joke about the Shetland Isles, though this doesn’t feel fully fleshed out.

The production excels in its ability to balance the bleakness of its themes with moments of dark humor.

“a show that captures the rawness of the original”

Bleasdale’s gift for capturing the working-class voice shines through, and Graham’s adaptation honours the original’s rawness while breathing new life into it.

The humour, sharp and unrelenting, offers a brief respite from the otherwise somber exploration of unemployment, family breakdown, and social stagnation.

Visually, the production is striking. Amy Jane Cook’s set design transforms the vast stage at LOWRY into a gritty landscape of industrial Liverpool, with dockyard cranes and a menacing River Mersey backdrop. The set’s versatility allows for smooth transitions between locations, from the cold office of the Department of Employment to the hard, unforgiving streets.

The use of video design by Jamie Jenkin further enhances the production, with flashbacks and projections providing a stark reminder of the socio-political context that shaped the characters’ lives.

Under Wasserberg’s direction, the production moves with urgency, well paced.

The original TV series was composed of five distinct episodes, each focusing on a different character, and while the stage version attempts to combine these storylines, some of the characters suffer from less stage time or convoluted plotlines.

However, the character work remains strong, and it’s this that keeps the audience engaged, even when the structure wavers.

The play is undeniably impactful, and its relevance continues to resonate today. As we witness the characters’ struggle against the backdrop of austerity and political disillusionment, we are reminded of the long-lasting effects of unemployment on both the individual and society. The final moments of Boys from the Blackstuff pack a punch, leaving the audience with a sense of both sorrow and reflection.

There is no doubt that Boys from the Blackstuff is a production that packs a hard-hitting emotional punch.

Graham’s adaptation shines a light on a chapter of British history that is far from forgotten, and the cast’s passionate performances ensure that these characters, though fictional, remain very much alive.

In a world still reeling from economic disparity and social divide, Boys from the Blackstuff remains a vital, searing piece of theatre. Whether you’re a fan of the original television series or new to the story, this production is not to be missed.

Tickets for Boys from the Blackstuff at LOWRY

Boys from the Blackstuff runs at The Lowry until April 26th. You can get tickets here

For more information about what’s on at LOWRY, please click here