Alan Bleasdale’s 1982 five-part series of plays for the BBC Boys from the Blackstuff established him as one of Britain's leading television writers and social commentators. James Graham took top spot in The Stage’s list of the 100 most influential people in UK theatre. Put them together and you have one of the most exciting productions that’s touring in 2025.
For years, Bleasdale resisted a call for Boys from the Blackstuff to be turned into a stage play. He said he couldn’t do it. But director Kate Wasserberg knew Graham could pull it off. The result is as good as any of Graham’s recent works which have made him in such great demand.
Set in 1980s Liverpool, Boys from the Blackstuff features a group of unemployed tarmac layers who are desperate to work—but there are no full-time jobs available. “Unemployment is a growth industry,” says one of the dole office officials.
There is only the odd cash-in-hand shift on a building site, which means they are investigated by “sniffers” from the Department of Employment.
The TV series resonated with viewers at a time of raging unemployment. Theatregoers can recognise how the stress of not having a job and no money can lead to domestic strife and mental health issues.
While the cast of 14 all give committed performances, there are a few outstanding depictions which leave you breathless.
The first is Jay Johnson’s interpretation of Yosser, whose mantra “Gizza job; I can do that” has been accepted into everyday language. In Johnson’s hands, Yosser initially appears to be nothing more than a thug who uses violence to try to get what he wants. By the end, he turns into a broken individual who is unable to cope after his children are taken away from him.
George Caple excels as Chrissie, especially in the scenes with his wife Angie, played masterly by Amber Blease. On one occasion, they have a massive argument because Chrissie refuses to take a job with Malloy, the boss of the building site where Chrissie’s friend Snowy died in a fall. Her plea for him to fight back is heart-rending.
There is also tension in the relationship between Dixie, shrewdly played by Mark Womack, and Freda, his long-suffering wife. Sian Polhill-Thomas is superb in a scene in which she crawls from the front door to the back and also has to take telephone calls warning her not to answer the door to fraud investigators.
As a contrast, Ged McKenna is composed as George, the former dockworker who everyone goes to for advice—even if they don’t always welcome it.
Sean Kingsley catches the eye not just as unethical Malloy but as six other characters, moving seamlessly from one to the other.
Jamie Peacock is just as adept at playing five characters, shining especially as Moss, the clerk who has designs on joining the investigations team to catch the fraudsters.
Alan Bleasdale is one of our greatest dramatists. James Graham has retained Bleasdale’s genius and added his own Midas touch to Boys from the Blackstuff. It’s tragic, poignant and sad, yet it’s not without humour. One of the theatrical highlights of the year, without a doubt.