Boys From The Blackstuff, National Theatre Review
Barry Sloane, Dominic Carter, Mark Womack, Nathan McMullen, Jamie Peacock, Aron Julius, Lauren O’Neil and Philip Whitchurch. Photo by Andrew AB Photography.Written by Philip for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review.
Please note: This production includes strong language and a gunshot. There are depictions of violence, grief and death.
Based on the 1982 television series, Boys from the Blackstuff tells the tale of the harsh truth of how unemployment effected the people of Britain in the years after Margaret Thatcher came to power.
Alan Bleasdale’s writing has been adapted for stage by James Graham whose last play at the National, Dear England, was a runaway success. Boys from the Blackstuff was originally commissioned and produced by Liverpool’s Royal Court and will soon be transferring to the West End’s Garrick Theatre. The play gives us a snapshot of Liverpool in the 1980’s and the hardship felt by the people due to crippling levels of unemployment. We get to see snippets of the lives of some of the men affected and how each behaves under the circumstances. Yosser (Barry Sloane) struggles to keep a grip on reality as he stumbles around the stage saying ‘gizza job’ to anyone who will listen. Chrissie (Nathan McMullen) is more mild mannered and thoughtful- just trying to feed his family without upsetting his friends. Dixie (Mark Womack) wants to work and keep his nose clean while looking the other way at dodgy deals. Each character has their own issue but sadly, we only really see snippets. While the original series spanned 5 hour long episodes, the play is condensed into 2 and a half hours which means you don’t truly get to know the characters quite as well but do see their despair.
Having said this the writing is heartbreaking and raw with occasional lighthearted moments to cut through the heavy plot. Those lighthearted moments particularly involving Freda (Helen Carter) as she scrambles around the floor in hiding and Yosser in the confessional booth - are an absolute joy to watch.
Barry Sloane. Photo by Andrew AB Photography.The acting is brilliant with the aforementioned actors each playing despair and heartache as the audience watch their lives begin to disintegrate. Philip Whitchurch plays George, the father figure for the group, with so much warmth and experience. You are drawn in. Whitchurch is convincingly wise as George - as if the words had not be written that way. Although portraying characters that are known by many - there is a freshness to them.
Kate Wasserberg directs carefully to keep Bleasdale’s original vision through Graham’s writing intact. The set by Amy Jane Cook also cleverly reflects the infrastructure of Liverpool in the 1970’s and 80’s.
Ultimately it is a very somber piece with flecks of light. However, the characters don’t seem to move or grow too much which makes the play feel relentless. You want to feel hope rather than bleakness but feel it draining away with every moment. Due to the heavy nature, it just seems too long. Nothing thrusts the story forward and you feel stuck, just like the characters. With the current cost of living crisis there does seem to be some parallels between Liverpool in the 80’s and Britain in general today - it will resonate with modern audiences.
‘Boys from the Blackstuff’ at the Olivier Theatre at the National until 8th June before opening in the West End at the Garrick Theatre from 13th June.
☆ ☆ ☆
