Review: Boys from the Blackstuff demands to be seen - emotionally devastating and fucking phenomenal

Helen Clarke

James Graham’s adaptation of Boys From the Blackstuff is not just a play - it’s a visceral, emotional experience. A bold reimagining of Alan Bleasdale’s iconic 1980s BAFTA-winning TV series, the production lands at The Lowry, Salford with all the grit, humanity, and heart that made the original so enduring.

Directed by Kate Wasserberg and brought to the stage by Liverpool’s Royal Court and the National Theatre, this is theatre at its most raw and urgent - a searing tribute to a generation left behind by Thatcher’s Britain.

Set in 1980s Liverpool, the story follows a group of unemployed men - Chrissie, Loggo, George, Dixie, and Yosser - all desperate to work, provide for their families, and keep their dignity in a system that’s actively working against them.

What could have been a bleak tale of hopelessness is instead a deeply moving and surprisingly humorous portrait of friendship, resilience, and the quiet power of hope.

Condensing an entire TV series into a two-hour play is no easy feat, yet this ensemble makes it feel seamless. The adaptation captures the complexity of each character while still giving room for genuine emotional development. It’s a testament to both the writing and the performances that audiences can connect so deeply, even without prior knowledge of the original series.

Jay Johnson’s Yosser Hughes is the emotional epicentre of the production. Stepping into a role immortalised by Bernard Hill was no small task, but Johnson’s portrayal is nothing short of breathtaking. He doesn’t imitate Hill - he honours him, channeling the same desperate vulnerability that made Yosser iconic, while bringing something deeply personal and fresh to the performance.

Every line, every stagger, every breakdown is delivered with such aching commitment, it’s almost impossible to look away. Johnson’s Yosser isn’t just a man asking for a job - he’s begging for a place in the world, and it’s heart-wrenching to witness.

George Caple as Chrissie gives a raw, morally complex performance that pulls at the audience’s sense of justice. His internal conflict - wanting to do the right thing while navigating impossible circumstances - is played with such honesty, you find yourself wanting to shout advice at him from your seat.

His chemistry with Amber Blease, who plays Chrissie's wife Angie, is a highlight. Blease steps into Julie Walters’ formidable shoes with impressive ease. She’s fiery, grounded, and impossible to ignore - saying what we’re all thinking, and doing so with such authenticity and passion that she feels lifted straight from reality.

Jurell Carter brings a quiet strength and subtle humour to the role of Loggo. His performance is understated but memorable, offering the kind of loyal, grounded presence that gives the group its spine.

Ged McKenna, as George, delivers a humble, dignified portrayal that brings stillness and gravitas to every scene he’s in - his silences speak louder than words, offering moments of reflection that are genuinely moving.

Mark Womack’s Dixie is another standout - a performance so believable it blurs the line between actor and character. As a father, husband, and friend, he captures the raw exhaustion and pride of a man trying to keep it all together.

Kyle Harrison-Pope as Kevin complements him beautifully, embodying the younger generation trying to find their place in a collapsing economy with subtle emotional clarity.

And finally, Weiss Barber’s Snowy leaves a lasting impression, particularly in the play’s climactic moments. Whether or not you know what’s coming, Barber’s performance lingers long after the curtain falls.

Boys From the Blackstuff isn’t just a retelling it’s a necessary reminder. It’s a rallying cry for empathy, for recognition, for dignity. Whether you’re familiar with the original series or not, this production grabs you by the collar and refuses to let go.

In a time when political and economic divides feel more pressing than ever, this show resonates deeply. Powerful, emotionally devastating, and fucking phenomenal - it demands to be seen.

There are four performances left which you can book here: https://thelowry.com/whats-on/193//boys-from-the-blackstuff