Boys from the Blackstuff - Cheltenham Everyman REVIEW

James Graham’s adaptation of Alan Bleasdale’s iconic 1980s TV series Boys from the Blackstuff brings the biting realities of Thatcher’s Britain to the stage with a sharp poignancy and relevance that resonates even 43 years after the original aired. Set against the backdrop of Liverpool during the height of mass unemployment and industrial decline, the play condenses the five-episode series into a compelling two-hour performance that is as gut-wrenching as it is thought-provoking.

The play follows five men, spanning from their teens to their sixties, who lose everything after being sacked from their jobs resurfacing roads. Their ill-fated decision to moonlight, encouraged by the ambitious and volatile Yosser, leaves them broke, jobless, and grappling with their shattered identities. The consequences of their actions unravel, showing the devastating effects on their relationships and mental health. The group’s tragedy is epitomised by Snowy’s death, a young member who perishes while working illegally to build a new Dole office, a painfully ironic twist that drives home the brutal hopelessness of their plight.

The cast of 14 delivers strong performances, with Jo Johnson excelling as Yosser, a man unraveling under the weight of his losses. Johnson’s portrayal captures Yosser’s descent into madness with raw intensity, from his iconic catchphrases—“Gis a job” and “I can do that”—to his heartbreaking delusion that his absent children are still by his side.

Sean Kingsley and Jamie Peacock shine in their multirole performances, with Peacock particularly memorable as the eager yet naïve Dole investigator, whose moral awakening provides a glimmer of humanity amid the bleakness. Kingsley’s portrayals of multiple smaller characters enrich the tapestry of the story, while George, played with gravitas and warmth, stands out as the group’s wise elder, offering guidance even as he confronts his mortality.

The industrial set design is superb, using steel, corrugated metal, and a projected backdrop of stormy seas and rain to evoke a sense of desolation. The minimalist set changes are executed seamlessly, using cleverly lit packing cases to transition between scenes. This aesthetic starkness mirrors the characters’ bleak realities.

Particularly powerful are the slow-motion sequences, including Yosser’s arrest and Snowy’s tragic fall from scaffolding. These moments heighten the emotional intensity and showcase Graham’s ability to innovate within the constraints of stagecraft.

Graham distills the series’ core themes—unemployment, identity, and systemic injustice—while capturing the grinding despair of Liverpool under Thatcher. For those familiar with Bleasdale’s original, the play is a nostalgic yet fresh interpretation, but it also stands as a vital work for younger audiences unfamiliar with the TV series. The struggles depicted are timeless, and the play’s reflection on poverty and community resonates in today’s socio-economic climate.

While some may find the performances lack the charisma of the original actors, this production does not merely rely on nostalgia. Instead, it challenges its audience to confront the enduring relevance of its message.