Review: Boys From The Black Stuff @ Liverpool's Royal Court Theatre
A strong adaptation of Alan Bleasdale's classic series
Liverpool’s theatre scene has been no stranger to adaptations of already-established works in recent months; The Kite Runner, reworked by Matthew Spangler, and Imitating the Dog’s take on Frankenstein both proved to be welcomed with open arms by respective audiences at the Liverpool Playhouse Theatre. Now, those paying a visit to the city’s Royal Court are evidencing an even stronger sense of appreciation for James Graham’s retelling of Boys From The Black Stuff. After a successful debut at the venue in 2023, Alan Bleasdale’s classic is set to wrap its second run on Saturday 10th May before transferring to the National Theatre in London to grant audiences with a further 21 performances.
Having already established its legacy thanks to the 1982 television series, Graham has rightfully stayed true to the original story of Boys From The Black Stuff, granting those who recall its inception with a feeling of familiarity and nostalgia. Better still, for newer audiences being introduced to the Liverpool-based hit via the stage, it is reassuring that Bleasdale’s initial exploration into the social and political hardships of 1980s Britain remains at the heart of the plot.
From the outset, we are introduced to Loggo, Chrissi, Yosser, George and Dixie, five working-class men struggling with the contemporary lack of employment, no thanks to Thatcher’s exploitation, carelessness, and sheer abandonment of the working class during her leadership and/or dictatorship. In addition to such political tyranny, inner turmoil, pride, strained friendships and difficult familial relationships allow for every character to demonstrate their own individual depth.
Whilst each cast member plays a part in establishing and maintaining the rich quality of Boys From The Black Stuff, Barry Sloane (Yosser) and Philip Whitchurch (George) give standout performances, with their compelling efforts exhibiting an emotional authenticity that is hard to come by in live performance. Alternatively, those required to multirole throughout the show do so with ease, displaying a strong ability to commit to their respective characters with conviction; Helen Carter and Lauren O’Neill in particular provide comedic relief as Freda and Jean, conveying a close-to-home humour to the audience.
Dyfan Jones’ musical composition also plays a vital role, with his accompaniment often existing as an intensifier - or the actual catalyst - of profound audience reactions. Witnessing Yosser’s severe interaction with the police is significantly enhanced due to Jones’ craft and emotional awareness of the narrative.
For all the positive aspects of the production, it is not without its, albeit minimal, shortcomings. Despite appreciating the aforementioned comedy, certain punch-lines feel predictable and unnecessary. Though met with prominent laughter, the ‘desperate Dan’ gag between Yosser and the Catholic priest comes across as outdated and cheap. However, antiquation may be the case given that Graham took this from the original script. Therefore, whilst Boys From The Black Stuff hasn’t been - and shouldn’t be - changed, comical aspects could be evaluated and executed in ways to suit a more modern landscape.
Still, this adaptation is nothing short of great and deserves all of the applause and praise it is getting. Not only does it delve into an important period of British history, but its transfer to London means that a timeless, fundamental, and unapologetically Scouse story is going to reach a national, and potentially international, audience. It’s hard not to feel proud about that.