The Garrick Theatre hosts the West End transfer of James Graham’s stage adaptation of the popular television series. Guillermo Nazara shares his views on the show, to let us know if this new version of the 80s crisis-based drama fails to employ its potential.
Work makes the man. That’s the ultimate rule that forges our existence. Or at least, that’s what we’ve been raised to believe in. It’s a bleak and shallow concept. And it brings no more significance than a trivial, materialistic purpose to our paths. And yet, it’s our only way to find meaning in our everyday quest for survival. We crave for a happy a life. But too many times, we see ourselves just aiming for one we can earn. That is, of course, when we are granted the privilege of even making it.
Last night, a piece of Liverpool’s heart traveled to the core of London’s West End, with the transfer of James Graham’s adaptation of Alan Bleasdale’s 1980s TV show Boys From The Blackstuff. Directed by Kate Wasserberg, and produced under the often quality label of the National Theatre, the piece brought back the rough charm and dire humour through which the series depicted one of the toughest periods in Britain’s recent history – in a time of constant convulsion in which the Thatcher era took its first steps, serving as a moment of political elation for some, but also an unceasing nightmare for others.
Penned with refreshing wit (especially during the first act) and remarkable humanity, the script succeeds at elevating the commonness of its story’s reality by creating a gripping, heartfelt recount which, regardless of anyone’s proximity to those situations, manages to connect with its audience with astounding ease. It gives a voice to the unheard, and a face to the unseen. It converts the small into giants, and those in the back into front line protagonists. And despite any political convictions, it’s hard to feel it ever turns to preachment.
The key to its power relies on the verity of its characters. They may be our heroes, but they hardly have any standing-out features other than their determination to find a way to support their families. They are not demons. But they are no angels either. They’re just people that, just like everybody else (*), are built upon as many flaws as the virtues they have too. And also like everyone else, they just want to carry through life as well as they can. You’re not supposed to love them (though you may), but you will relate to them in some way or another – as their appeal does not stem from their actions, but from the universality of their traits. All in all, we can see ourselves reflected in their desperation – and in the end, their yearning for a better outcome.
With a set design by Amy Jane Cook, superbly complemented by Ian Scott’s incredibly intricate lighting, the staging excels at delivering a dynamic, evocative and visually enticing narrative – evenly transporting us into the crude, steel-based nature of its setting. Finished up by Jamie Jenkin’s expressionist video design – blending a figurative style with some gentle specks of symbolism, the cinematic quality of the montage is one of its more indelible imprints, but finds anyhow a way to blend in almost continuous unison with the theatricality the work requires and, all through the performance, is able to carry out.
The praise is equally deserved by what, with hardly any omissions, is a positively spotless company. Interpreting their roles with extraordinary truthfulness and electrifying stamina, Nathan McMullen makes one of the most memorable appearances in the lead part of Chrissie – crafting an extremely sympathetic portrayal of the young, struggling worker who continuously strives not to fall off the cliff life repeatedly puts at the verge of. However, the biggest applause goes to Barry Sloane as Yosser, giving an unbelievably likable rendition as the volatile father who tries to find his place in a world that’s already closed its doors towards him.
A timeless concept set in a time that redefined the course of Britain, Boys From The Blackstuff ticks many of the boxes that make of theatre an unique, transformative experience. It has some problems regarding its pacing, as well as the dialogue in the second act sometimes lacking the same level of insightfulness and authenticity the first one so vividly regales us with. But it has enough strength to make up for a few blemishes that, eventually, do not compromise the value of the material’s core. It is, in fact, a piece based on issues. And it’s precisely those bumps that prevents it from being flat.
(*) I’m obviously the exception, but you know that already.
All pictures credit to Alastair Muir.
The Boys From The Blackstuff plays at London’s Garrick Theatre until 3 August. Tickets are available on the following link.
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