Review: BOYS FROM THE BLACKSTUFF, Richmond Theatre

After debuting at Liverpool's Royal Court and successful London and West End transfers, James Graham's adaptation of Alan Bleasdale’s iconic television series is now on a national tour. And what a good thing, as this is urgent and thoughtful theatre that deserves to be seen by as many people as possible.

Set in 1982 in Liverpool The Boys From The Blackstuff follows the stories of Chrissie, Loggo, George, Dixie and Yosser; five unemployed tarmacers who are dealing with family disputes, health issues and the unending turmoil of unemployment in an economic environment that has nothing to offer them.

Cleverly retaining the inherent flaws of each character, Graham recreates much of the original series, condensed into a two and half hour running time. Jay Johnson takes over the role of gruff Yosser, portraying the fragility of a man struggling greatly and teetering on crisis as violence bubbles just below the surface.

George Caple is a hugely likable Chrissy, unable to take a job due to his ethics. Amber Blease is very credible as his long-suffering wife Angie, taking her frustrations out on her kind and gentle husband, although women are not the focus here at all.

Ged McKenna is suitably fatherly as kindly ex-docker George, a link to the proud industrial past of the city. He loses his son working illicitly on a raided building site and the impact is visceral. Jurell Carter is intrguing as Loggo who eventually decides his only option is to leave; it's a shame the character is very undeveloped. Mark Womack's wise Dixie could also do with more to do, but that is the result of condensing a TV series into a play.

In a strong supporting cast, Sian Polhill-Thomas makes a forthright Ms Sutcliffe and Jamie Peacock is very convincing as officious Department of Employment employee Moss.

Amy Jane Cook's structured and industrial set, along with Jamie Jenkins' excellent, colourless video design, makes Liverpool almost into another character in the story, thrusting us into the heartland of a city ravaged by poverty, lack of hope and opportunity.

The subject matter is serious and powerful, but there is a dark hopelessness that pervades over the production, meaning any comedy is pretty much flatterned. And a little light relief would be welcome; even Josser's catchphrase "Gissa job!" sounds more bleak than funny. The overt nature of the politics also verges on expositional at times.

Much of the play is about mental health and struggles to retain a sense of dignity in the face of impossible economic situations. Ironically, back in 1982, the phrase 'mental health' was virtually unknown and men, in particular, would never dream of sitting around talking about feelings. It is poignant that each man is struggling in their own way; wanting to work, to feel like a man should as a breadwinner and feeling worthless in the eyes of the state.

Thanfully today we have infinitely better help and understanding over people's mental difficulties, but many would argue that our economic prospects look increasingly bleak, with a government seemingly blind to some of the most vulnerable in our society. As such, Graham's play is both impactful and sometimes frighteningly relevant.

Boys From The Blackstuff is at Richmond Theatre until 15 February, then touring until 5 July

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