This powerful and faithful revival of BOYS FROM THE BLACKSTUFF captures the raw despair of post-industrial Britain with a superb cast and striking staging.
The early 1980s in Britain was a time of change. Industrialisation was on its way out, and with it went thousands of men trained in trades that were suddenly no longer needed. The youth culture reflected the worries of the working class, and whether through confrontation or escapism, the sense of movement was undeniable.
In 1982, these concerns were thrown into sharp focus with the BBC One broadcast of Alan Bleasdale’s BOYS FROM THE BLACKSTUFF. Here, the consequences of post industrial Britain were exposed in all its stark glory. Men stripped of purpose, communities in ruins, and a thick fog of despair loomed large. Now, over 40 years on, this touring production hasn’t lost an ounce of the power and shock of that original broadcast.
Much of that power comes from an exceptionally strong cast who wring every nuance from the dialogue, portraying men and women teetering on the edge. The audience is invited on a journey back in time. We see a close-knit group of friends battling a grim new reality of death, mental breakdowns, fractured relationships, and the bleakness of life with no clear future.
Jay Johnson is mesmerising as Yosser, a man crumbling under the weight of despair, despite the attempts of idealistic Chrissie (George Caple) and Dixie (Mark Womack) to provide a voice of sanity. There is the steadying hand of the old timer George (Ged McKenna) and his son Snowy (Reiss Barber), a radical socialist fighting against the machine. Then there’s Loggo (Jurell Carter), the youngest, whose working life seems over before it’s begun. Rounding out the ensemble are Dixie’s son Kevin (Kyle Harrison-Pope) and his wife Angie (Amber Blease). This central cast is a solid force, holding the audience in stillness as their desperate stories unfold.
The secondary characters at the dole office provide a cold, bureaucratic contrast. Even with moments of dark humour, the play remains deeply thought-provoking, and presents us with the question of what really matters in life. A sense of belonging, a sense of self-worth, all of which seem to be very much in short supply in Liverpool 8.
This production, a collaboration between the National Theatre, Bill Kenwright, and Liverpool’s Royal Court, is adapted by James Graham. He remains faithful to Bleasdale’s original work, and together with Kate Wasserberg’s direction, has created an excellent version that resonates today as much as over forty years ago. Ian Scott’s lighting and Amy Jane Cook’s stark set design echo the bleakness of the story, while period music sets the tone perfectly throughout the two acts.
Simply put, BOYS FROM THE BLACKSTUFF is an extraordinary play. It remains as powerful today as it was over four decades ago. It shows what happens when a community is torn apart and discovers the place it once held is no longer valued. Part Greek tragedy, part cautionary tale, it is entirely a theatrical tour de force.
BOYS FROM THE BLACKSTUFF runs at The Lowry, Salford until 26 April 2025.
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