Adapted by James Graham from Alan Bleasdale’s hit 80’s TV show, Boys From The Blackstuff hits the West End’s Garrick Theatre from the National Theatre and the Royal Court Theatre, Liverpool directed by Kate Wasserberg. As poignant today as it was 40 years ago, it follows a group of former tarmac layers, who are now unemployed and fighting the system to get work. The story depicts struggles from the City of Liverpool, as it experiences record unemployment and failing institutions. One can see how it might be applicable today.

The play demonstrates the skill Graham has in maintaining multiple plot narratives and keeping them alive as the stories individually could easily have been missed but they all coexist and intertwine perfectly. It is no small feat to adapt a non linear TV series, but it is clear Graham had certain themes to get across regarding men’s mental health and the strength of a collective voice.

Wasserberg has placed a clear focal point on the rich acting shown throughout the performance. Amy Jane Cook’s set compliments said acting and serves its purpose by adding no unnecessary fluff to take away from the drama of the story and the execution of it. The minimal frame to represent the cubicles of
the job centre and other small aspects of set provide just enough context to suspend our disbelief effectively supporting but not distracting from the events of the play.

The cast are altogether strong with George Caple, Dominic Carter, Aron Julius, Nathan McMullen, Lauren O’Neil, Jamie Peacock, Hayley Sheen, Philip Whitchurch, Mark Womack, Helen Carter, Elliot Kingsley, Victoria Oxley, Liam Powell-Berry and Liam Tobin. However a clear stand out is Barry Sloane reprising his role as ‘Yosser’. Fans of the TV show will be delighted with his performance as he not only pays homage to the origins of the character but truly makes it his own. The iconic “Giz a job” will ring in your ears for days after viewing the show. His performance is sublime and a marvel to watch. He provides a much needed focal point as it is difficult to follow and be invested in 5 stories simultaneously but Sloane provides a presence and believability that makes watching him effortless.

One stand out moment of the show was surprisingly the use of a slow-motion movement sequence that was utterly profound. In Yosser’s pivotal scene, Rachel Nanyyonjo has devised a sequence that truly slows time. Rarely do I find a justified and well executed slow motion sequence in theatre but this one was perfect, well placed and well timed.

Overall the show appeals to not only the fans of the TV series but anyone and everyone as it portrays the struggle of humanity and does a good job of doing so. It is so refreshing to see and hear northern voices on a West End stage again.

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