JADAR

★★★★★

Originally written by Alan Bleasdale and adapted by James Graham, Boys From the Blackstuff is making its Manchester debut at the Lowry this month. An incredible and insightful drama inspired by the original BBC Two short series from 1982, this piece is a true marvel of the juxtaposition between classic British drama and the new wave of modern theatre.

This National Theatre production was directed by Kate Wasserberg, seamlessly capturing the devastating nature of the original with beautiful additions made for an onstage production.

Boys From the Blackstuff explores poverty and the sacrifice of ethics due to the exploitation of the lower classes with an unparalleled understanding and care that is a rarity in touring shows. 

Amy Jane Cook created a phenomenal set that moulded and adapted itself to the story well. The set was inventive and sharp, detailed with moving cranes, real fire and shoddy wooden balconies. Cook created a true 1980s setting in fashion, set and design. Similarly, Ian Scott created a natural and empowering lighting design that elevated every single moment. The show opened on a beautiful projected video, designed by Jamie Jenkin, that captured key elements of the production and allowed every audience member to become fully present. The attention to detail was exceptional in these moments, showing me how powerful Wasserberg is as a director. Spoilers lie ahead.

The script was a masterpiece. It was an honor to watch this piece performed live, truly putting James Graham in the hall of fame for British playwrights. The first act of the show felt like it was preparing audiences for the second half, building tension, showcasing memories, and developing characters.

Leaving the first act, I was critical of a few moments, wanting moments to be slowed down, feeling like the characters weren’t giving us a reason to believe they had softness, and unsure about the use of modern movement. Snowy’s death in the first act was untimely, quick and almost stagnant. I questioned the necessity for modern movement and storytelling, including freshly composed music covering every transition, the constantly out-of-sight children playing, or the lack of variation in characters. I was curious why these choices were made in a mostly naturalistic piece of theatre. However, upon leaving the auditorium after the second act, every moment, every pause and every reserved emotion felt resolved, intentional and necessary. It felt like a puzzle clicking into place. It felt like the first half allowed the audience to become present with the actors and the storyline.

In the intermission, I wanted to see a shift in every character, watch them transform. I was blown away in the second act. There was a new emotional intention, new overarching themes and a new kindness in the story. The second act brought out a humanity that is rare to see. Though the first half captured a true glimpse at our history, the second half captured a rare relatability in humanity. I believe there is something relatable to every individual in the audience: the reckoning of our parents, having to admit our faults, regret in choices made, the tension of poverty and the pain in watching loved ones make sacrifices. This is what theatre is all about.

My only lingering critique would be about the stunted stage punches, with a displacement in claps causing confusion and distraction during fight scenes. Unfortunately, the fighting felt too rehearsed and caused a drop in believability. 

What made this piece so different was the reasoning behind modernity, as it was used to mask and distract the audience from Yosser’s mental status. There was not a single moment I questioned the presence of his unseen children, including a scene where Yosser (played by Jay Johnson) allowed his two kids to cuddle in his bed. Every piece of me believed they were on stage with him, even if we could not see them. This made Yosser’s breakdown all the more devastating. His battle of custody had ended months prior, Yosser was experiencing hallucinations the entire time. The build up of drama was remarkable — the escalation of tension to allude to Yosser’s psychosis was flawless: melding the world of modern theatre, naturalistic acting in order to create a feeling of instability was excellent.

Jay Johnson’s performance as Yosser was hilarious, deeply realistic and overtly devastating. Johnson gave a performance that actors dream of. He was able to captivate the audience fully while turned away from us. Johnson’s mental breakdown was the most guttural portrayal of emotion I have ever seen live. This moment followed by a movement sequence where police officers brutally assaulted Yosser in slow motion was a life-changing piece of theatre. I was at the edge of my seat, completely entranced by this decision. 

The cast was extremely talented – George Caple as Chrissie, Ged McKenna as George, Mark Womack as Dixie, and Jurell Carter as Loggo. Not to mention the ensemble and supporting characters. Every performer was on point in this production causing a rise in emotion I have not felt from theatre in a long time. For the most part, every performer was fully present with one another, with the storyline, with the audience and with the set.

I felt like a light switch went off during the second act, no longer looking in on a story but now being fully involved in the production, relating every moment, every character and every emotion back to myself and my experience, despite being from the US and growing up in the 2000s. This piece has something for everyone.

Alan Bleasdale’s Boys from the Blackstuff runs at Lowry (Lyric Theatre) until April 26 and tours the UK until July 5.

Photo: Alastair Muir