Boys From The Blackstuff UK Tour Review (Cast, Doncaster)

04 June 2025 I 19:30 I Cast, Doncaster

⭐⭐⭐⭐

Following the 1982 drama series of the same name, Alan Bleasdale's Boys From The Blackstuff returns to the stage following National Theatre and West End runs, observing the unemployment crisis under Thatcher's government. With an emotionally charged script from James Graham and socially realist direction from Kate Wasserberg, audiences receive a severe and oppressive zeitgeist of the 1980s, holding cultural resonance to Liverpudlian hardships.

Premiering at Liverpool's Royal Court, this touring production is striking upon entering the auditorium. An imposing industrial set design from Amy Jane Cook locates a brutalist aesthetic for underprivileged workers. Combined with Jamie Jenkin's upstage video design, an opening montage establishes the tone expertly, using news broadcasts and footage of Thatcher's politics to identify the play's objectives.

The quality of character work is sublime, with each performer's motivations immediately clear in response to their lived circumstances. In particular, Jay Johnson's Yosser is guttural and devastating. His impassioned monologue to conclude Act One begins holding an intimidating power, but transforms into a really delicate piece as we sympathise with these people as human beings, entirely losing the actor.

Although not heavily featured, Reiss Barber makes a commanding impression as Snowy, whose tragic development anchors the narrative to discover the harsh realities behind the working-class struggle. Barber gifts the role a convincing ambition and integrity, remaining one of the most memorable presences of the evening.

Structurally, Graham's adaptation showcases a variety of scenes, interjecting abstract movement sequences (Rachael Nanyonjo) into an otherwise strict naturalistic form. This keeps viewers engaged, allowing tensions to breathe and displaying harsh police brutality in unconventional styles.

The duologues of the script are immensely powerful, with a noteworthy dynamic between George Caple (Chrissie) and Amber Blease (Angie). Foremost, the play provides commentary on masculinity and the social pressure of the breadwinner. But equally, it tackles women's housewife responsibilities under Thatcher's Britain, the role of the disillusioned mother that gives a voice to those who have lived through this era of British history.

Moments of chorus showcase a vulnerability, and garner a strong sense of resilience and community in the rare opportunities that the whole cast come together despite the challenges they face.

Although final scenes can outstay their welcome with mildly confusing resolutions, there is no doubt that Boys From The Blackstuff exceeds its reputation to be a real tour-de-force of theatrical statements. Where Wasserberg's drama covers a realistic portrayal of Liverpool's industrial decline in the 80s, audiences can expect both an entertaining evening and one of historical impact.