This week the Regent Theatre is host to an Alan Bleasdale classic. Directed by Kate Wasserberg and with a new adaption by James Graham, the BAFTA winning “Boys from the Blackstuff” is currently touring directly from the West End.
A show that maybe familiar with some of the audience from its success as a TV series almost 40 years ago, it was curious to see how the story would translate on stage.
The story is set in 80s Liverpool and depicts the lives of a group of workers who are desperately trying to provide for themselves and their loved ones. In many ways it could almost be a commentary on recession during the reign of Prime Minister Margaret Thatcher because with little money around, the story highlights how life at this time for many in Liverpool was one long, arduous struggle.
Despite the seriousness of the story it would be remiss not to highlight that this is, in equal measures, a very funny play. Bleasdale’s writing shines on stage through each character as the desperation for some joy in each scene pushes through. The scenes were fairly fast moving which provided a frenetic energy to the story, all entirely fitting. The two acts are very different. There is a sense that the first act simply sets the scene and ensures that we the audience, are knowledgeable about the characters before an increase in the drama on stage in the second act.
Jay Johnson who played the part of “Yosser” delivered a standout performance. His characterisation of the yearning that Yosser had for any job was translated directly to the audience. His daily struggles to simply exist at this time and the image he wanted to portray of his life was tragic. Playing “the hard man” was all he knew but the pretence he wanted to portray that his children were still living with him was painful. His fight scene in the second act was mesmerizing and emotive to watch.
Amber Blease who played the part of Angie should be highlighted. Her character displayed an inner strength she had for everyone. She was powerful in the way she was able to display empathy to others yet behind closed doors she was raging with anger at the situation she found herself in, as a wife and a mother. Blease gave her all to these scenes. Her interaction with “Chrissie” played by George Caple was dynamic. Caple who played an individual clinging on to his morals yet internalising his anguish was strong on stage.
Mark Womack played “Dixie”, a man desperate to work but coerced into taking bribes. Womack was very accurate in displaying how it was incredibly challenging in being entirely without fault at this time, despite trying to constantly do “the right thing”.
It would be remiss not to mention the impressive set on stage. Scenes near the docks and the impression of a building site with cranes in the background was a clear visual throughout. The set construction team should be applauded for this.
The success of this play is ultimately due to the sensitive way Bleasdale created such characters as well as the fabulous casting of the individuals. It is incredibly sad and yet there are many funny moments also. The translation to stage from TV is undoubtedly a success and it could be argued that many aspects of this tale remain socially applicable even today.
The play is recommended for 10 years and above and is on at the Regent until Saturday 14th June. Tickets are available via www.atgtickets.com or via the box office at The Regent Theatre.
Reviewer: Angela Kelly
Reviewed: 10th June 2025
North West End UK Rating: