James Graham’s play based on the television series might be based in the 1980’s but the themes it brings up are still painfully relevant today.
A powerful piece of theatre has the ability to punch you in the gut emotionally, time and time again – which is exactly what James Graham’s stage adaptation of Boys from the Blackstuff does.
Arriving in Richmond as part of a UK tour, the story follows that of five colleagues who have been laid off from their jobs as tarmac layers and now struggling to find a new steady job, having to accept cash in hand jobs at the local building site to make ends meet.
But of course, they are also continuously called to the job centre to account for themselves, while being spied upon by social security officers trying to catch them out. Unfortunately on one occasion this leads to tragedy. Despair might lie at the heart of the story – but there is also humour and hope by the end that offers a glimmer of light.
While initially Kate Wasserberg’s production and Graham’s script feels a little staccato like, it soon settles down into something that is richly rewarding to watch as the audience gets to know Chrisse, Loggo, Dixie, George and Yosser.
Boys from the Blackstuff manages to cover a lot of themes effectively – many of which audiences will recognise today particularly given the cost of living crisis. Themes such as inequality between the North and South is touched upon as is the economic decline in relation to the industrial industries. But just as importantly, the play examines the importance of male camaraderie, men’s mental health and of course pride – particularly highlighted through the character of Yosser whose despair is particularly heartbreaking to witness in the way he pretends his children are still with him.
Thanks to Amy Jane Cook’s impressive and industrial styled set design and Ian Scott’s lighting design, there is a really haunted quality to the production that enhances that tension and hopelessness that the characters are feeling to powerful effect.
There is a lot of pain and anger that is mined from each character’s perspective and it is consistently compelling to watch and see how each of them deal with the situation in their own way. The second act in particular feels a little more focused in this regard – highlighting in particular Yosser’s story to heartbreaking effect as his despair explodes out of him, leading to an extraordinary slow motion sequence involving a confrontation with the police that is a real standout and memorable moment. I would just say that some of the stories feel a little more detailed and rounded than others. On the other side of this though, while the characters are flawed, there is no doubting that the audience is still rotting for them to be supported better by the state.
The performances themselves are richly rewarding, in particular Jay Johnson as the deeply despairing Yosser who constantly saying ‘Gizza job’ in a variety of settings is painful to witness -it is a raw performance that perfectly captures what the story is about. Elsewhere, I was also touched by George Caple’s performance as Chrissie -battling with the morals and principles of accepting as job when his friends and colleagues are struggling. But the whole ensemble do a brilliant job of bringing their characters to life in a compassionate way.
Overall, Boys from the Blackstuff is to be highly recommended for its vivid portrayal of issues that still are painfully relevant today.
By Emma Clarendon
Boys from the Blackstuff is at Richmond Theatre until the 15th February before continuing to tour. To find out more visit: https://www.kenwright.com/productions/boys-from-the-blackstuff-2025-tour/
Rating: ❤️❤️❤️❤️