Review: BOYS FROM THE BLACKSTUFF, Garrick Theatre

Photo credit: Jason Roberts

‘Gizza' job!’, a phrase known by a generation. It is, of course, from Alan Bleasdale’s Boys from the Blackstuff, originally a 1982 TV drama that forty years later, James Graham has adapted it for the stage.

Our story takes place in 1980s Liverpool; Chrissie, Loggo, George, Dixie and Yosser are out of work and beginning to lose hope of finding any. The ‘sniffers’ are on their case but in times like these, something is better than nothing for these working-class men. This warm and humorous but tragic tale captures the economic climate of the Thatcherite era and our Boys from the Blackstuff demonstrate that, try as they might, unemployment is a hardship that not all can overcome.

Directed by Kate Wasserberg, Boys from the Blackstuff is visually gritty and inviting in equal measure. Our five protagonists are full of life and instantly pull you in to hear their stories. The stage has depth and height, just like the writing and story, which could not have higher stakes for these ordinary people. Amy Jane Cook’s design gives the stage an industrial feel and the set transports us from the Department for Employment to a construction site complete with buildable bricks. The set changes have been incorporated into the action and crates are lifted across the stage, accompanied by the dulcet tones of sea shanty-esque singing.

Boys from the Blackstuff is a case study of male friendship and pride, and the impact that loss of control can have on a person. This is wonderfully reflected in the changing physicality of the characters, directed by Rachael Nanyonjo. There is an endearing and realistic sense of comradery between the friends whose love and laughter is the glue that will attempt to see them through these difficult times. Their desperation is palpable and this is reflected by the whole cast. They all approach the story and their performances with such sensitivity that ensures this is a show that feels important and urgent.

Our central figure, Chrissie, is ‘too nice’, the most grounded of the men; Nathan McMullen embodies this character struggling to choose between what he can do and what he feels is right with great nuance and care. Yosser is a man on the edge, using humour to deflect any attention that might slowly reveal the broken man underneath. The whole cast are outstanding but native Liverpudlian Barry Sloane is a particular standout as Yosser. During the bows, it is clear how much it meant for him to be telling this personal and culturally significant story. His talents are highlighted during an utterly heartbreaking sequence in the second act during which his towering form literally and mentally crumbles. This includes a brilliantly choreographed fight by Rachel Bown-Williams, accompanied by a poignant soundtrack by Dyfan Jones which transitions from strangely upbeat to deeply moving. Chrissie and Yosser are joined by Loggo (Aron Julius), George (Philip Whitchurch), Dixie (Mark Womack) who all give beautifully heartbreaking naturalistic performances.

From a millennial perspective, there are certainly a few cultural references that we missed but the material is scarily relevant. This is a story that captures the zeitgeist of 1980s working class British culture but so many of its themes are evident in the present day. The main difference now being that £14 is closer to the hourly wage than a day rate. Despite its title, Boys from the Blackstuff doesn’t solely focus on the male perspective and we are afforded a glimpse into the experience of women during this time. The performances of Helen Carter and Lauren O’Neil in multiple roles provide comedy, O’Neil is stellar as Jean, and a sense of gravity as the protagonist’s wives and the Department of Employment manager. Of course, James Graham’s task was to adapt Alan Bleasdale’s beloved work but one wonders if in this version forty years later, even more attention could be given to a sector of society whose story is seen even less in the arts, working class women.

Boys from the Blackstuff is a wonderfully relevant and iconic play, brilliantly staged for a new generation.

**** Four stars

Reviewed by: Sophie Luck

Boys from the Blackstuff plays at the Garrick Theatre until 3 August, with tickets available here.