More-than-ever actual representation of the Liverpudlians in the 80s

I stepped back in time at Liverpool’s Royal Court. The Boys From The Blackstuff adaption transported me to a not-so-far-away past, haunted by the Thatcher reforms. The play shed light on the harsh realities of unemployment, which was jokingly referred to as a “growth industry”, and how it particularly affected those from industrial backgrounds.

The short scenes performed on stage expertly recreated the universe of the narrative, where the city itself is a character. Furthermore, the community is also a collective character that shapes the destiny of the protagonists. But all the lineup present in the show also appear on stage. Barry Sloane delivers a powerful performance as Yosser Hughes, a complex character who struggles to reconcile his inner turmoil with the harsh realities of his life. Nathan McMullen portrays Chrissie, as a gentle voice of reason who endures numerous humiliations while striving to maintain his values. George Caple embodies pride in his working-class roots as a young socialist named Snowy. Lastly, Andrew Schofield, the eldest of the group, displays profound wisdom and tact, showcasing how life experience can be the best teacher.

The play’s production was visually stunning. The scenic design created an industrial ecosystem on stage that seemed to be alive and breathing. The staging was cleverly done, especially the slow-motion scene of Yosser’s fight and the contrast between an interrogation at the employment centre and a Catholic funeral (“Is Mighty God still employed in any capacity?”). Although it became violent quickly, there were some moments of comedic relief that helped to make the show more understandable for those of us who were not familiar with the reality of the “Blackstuff” workers.

At first, I found the universe of the show to be well-crafted, but it heavily relied on the audience’s familiarity with the characters. As a result, it took me almost the entire first part to grasp the characters and the plotline. However, the extended exposition proved to be beneficial, as the second part of the show swiftly progressed with action. I would appreciate more focus on the realities of females in that era which could have made the depiction more well-rounded.

Although we are in September 2023, this show is very actual. We are months away from November and awareness should be raised on how the spirit of the heads of the family crumble when they do not have the necessary support in society and are expected to be “somebody” while they are the breadwinners in the family. And although we fully understand, internalised and technically apply in the day-to-day the concept that free will (and a free market), we are now facing a cost of living crisis, a surge in the gig economy and 0-hour contracts. Furthermore, a multitude of people use food banks to support their families.