Review: BOYS FROM THE BLACKSTUFF, Liverpool's Royal Court

Following its sold out run in 2023, Boys from the Blackstuff has returned to Liverpool’s Royal Court, before the show transfers to The National Theatre in London and Garrick Theatre in the West End.

Directed by Kate Wasserberg, Boys from the Blackstuff is powerful and poignant. Adapted for the stage by Sherwood writer James Graham, from Alan Bleasdale’s BBC series, the story focuses on unemployed tarmac layers Chrissie, Loggo, George, Dixie and Yosser in 80s Liverpool, with the story exploring the impact of unemployment and the challenges the characters face.

Many of the cast from its original run in 2023 have returned, with the addition of Philip Whitchurch as George and Jamie Peacock as Moss.

Peacock is an outstanding actor; quickly changing his physicality and vocals between scenes to play five characters throughout the production - from characters such as Moss, to a Reverend and more. It is his first main stage show at Liverpool’s Royal Court, having previously performed at its Studio Theatre, and I hope to see him in more main stage shows at the venue in the future. He is a performer to watch.

Whitchurch also delivers a stand out performance as George, the former dockworker who the characters regularly ask for advice. His character often shares stories of his time on the docks, along with witty one liners that leave the audience - and the characters in the scenes - chuckling.

However, it is Whitchurch’s ability to say so much even when he is not speaking that is incredible to watch. During a duologue between Barry Sloane’s Yosser and Whitchurch’s George in the second act, each glance from Whitchurch said so much about how his character was feeling and everything he wanted to say to help Yosser. It is engaging and I could not take my eyes off Whitchurch’s performance whenever he was on stage.

Whitchurch, Peacock and the entire cast were given a standing ovation at the end of the show - and it was easy to see why. Having previously watched the show during its run in 2023, I was left in awe at the performances the cast delivered last year - and tonight, they left me speechless once more.

Helen Carter’s performances as Miss Sutcliffe, Freda and Margaret are brilliant, particularly during act two, as one of her characters Freda, ran between multiple characters at the front and back doors - all while trying to answer a constantly ringing phone. Building up the tension by raising the volume of her voice and the pace of her movement as the scene becomes more intense, it is a cleverly choreographed scene and excellently delivered Carter.

Once again, Barry Sloane showed why his performances are a masterclass in acting. As Yozzer, he can deliver a joke one moment and instantly change his physicality and voice to show rage and anger, within the same sentence. His physicality in the slow motion fight scene in act two (choreographed brilliantly by Rachel Bown-Williams) also shows Yozzer’s anger and despair without saying a single word of dialogue. From the very first minute to the the last, Sloane’s performance is phenomenal and he is one of the most outstanding actors I have seen on a theatre stage.

Aron Julius, Nathan McMullen, George Caple and Mark Womack as Loggo, Chrissie, Snowie/Kevin and Dixie, impress the audience with their harmonies as they sing songs throughout, with all four actors - and the entire cast - delivering emotive performances in the show.

Again, Nathan McMullen’s chemistry with Lauren O’Neil as Angie is incredible to watch. As Angie begs Chrissie to take a job that he has been offered during a scene in act two, each word, movement and glance between McMullen and O’Neill is powerful and you can feel every emotion that the characters are feeling.

The effective use of extra video imagery heightens a lot of the moments in the story, such as pieces of material falling behind Caple as his character Snowy tragically dies on the building site, to the waves crashing behind Whitchurch and McMullen as Chrissie and George share one last conversation together, as George reflects on his life on the docks.

The use of additional dialogue and effective staging also allows the audience to learn more about the characters and their lives. For example, McMullen, Julius and Caple standing on boxes and looking out to the audience as they speak to characters offstage in the opening scenes, allows the audience to learn more about the people in the character’s lives - even if we did not see those characters onstage.

In 2023, I described Boys from the Blackstuff as ‘the must see production of the year’. Without a doubt, I can say it is not only the must see production of 2024, but one of the greatest theatre productions you will ever see.

Boys from the Blackstuff is at Liverpool's Royal Court until Saturday 11 May, before transferring to The National Theatre, London.

Photo credit: Andrew AB Photography

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