L - R - Jay Johnson (Yosser), Mark Womack (Dixie), George Caple (Chrissie), Jurell Carter (Loggo) and Ged McKenna (George) - each stood under a number.

Calling all StageSiders, welcome back to another review here at StageSideUK. This time around, we are talking about a production of Boys from the Blackstuff at Leeds Grand Theatre seen on 13th May, 2025!

Disclaimer: I was gifted two free press tickets in exchange for an honest review of the show. All images featured were taken by Alastair Muir.

This is the first official press event for me with StageSideUK, how exciting! What a wonderful venue to head to and for a show that is adapted by a fellow Hull Uni Drama alumni, what a perfect way to start!

For context, I went into this not knowing anything about the original series or what the play is about so my opinions are completely based on my enjoyment and understanding of the show.


Jurell Carter (Loggo), George Caple (Chrissie) and Ged McKenna (George). George and Loggo sat on wood boxes. Chrissie stood up with cup of tea.
Jurell Carter (Loggo), George Caple (Chrissie) and Ged McKenna (George)

About the Play

Set in 80s Liverpool, a group of lads find themselves caught between needing to provide for their families and avoiding the “sniffers” whilst there are no jobs and no money available. After an incident in Middlesbrough, now more than ever are they struggling to make ends meet.

British playwriting icon, James Graham has adapted the play from Alan Bleasdale’s BAFTA award-winning TV series presented by Liverpool’s Royal Court and National Theatre production, directed by Kate Wasserberg. They play touches on the tumultuous times of working-class industries and systemic problems they faced from governmental corporations during the 80s.

Jamie Peacock (Moss) and Amber Blease (Lawton) - both sat on wooden boxes
Jamie Peacock (Moss) and Amber Blease (Lawton)


Boys from the Blackstuff Scenography

I was very impressed by the set. For an onstage construction site, the corrugated iron and flown in cranes upstage were effective. I’m presuming the set is made from wood rather than actual metal so whoever painted the set did a great job! First impression started well. On top of the main set build there were many additional pieces used throughout the show that fit the overall aesthetic well. There was also a video screen at the back providing a backdrop and reminder of the coastal location.

Whilst the aesthetic was appealing, the set wasn’t used to its full potential which was disappointing. The video didn’t really add anything to story, honestly felt like it wasn’t necessary. If I’m to delve a little deeper I also would have liked more of a link to the specific “blackstuff” element. The story is set after the group worked on the motorways so they are generally on a more conventional construction site but it took me a while to clock that was what the blackstuff actually was; maybe a more noticeable nod to this would have helped me make sense of this earlier. The amount of additional pieces brought on also made me question the need for the set in the first place other than something nice to look at.

Reiss Barber as Snowy Mallone (Centre) and The 2025 Tour Cast of Boys from the Blackstuff - all stood on stage most holding black umbrellas.
Reiss Barber as Snowy Mallone (Centre) and The 2025 Tour Cast of Boys from the Blackstuff

I don’t want to comment too much on the costume as I’m not the most knowledgeable in this area. To me, it mostly looked appropriate. There were some moments I found a little odd but nothing that stood out enough. Not going to lie thought, there were some terrible wigs. I will say that the two guys next to me weren’t so impressed stating that ‘if someone had worn a suit like that in those times they would have had the P taken out of them’. I’m not entirely sure who they were on about but at least they would have been around in the 80s to know the difference, unlike me.

The set did allow some interesting points for lighting to play with but there were many black outs. Blackouts are my number 1 pet peeve in theatre. If they are to be used, there has to be a good reason otherwise I want to see the scenes blending together, keeping the pace up, watching the set pieces change. This play did not do this well I’m sorry to say.

Jurell Carter (Loggo), Jay Johnson (Yosser) and Mark Womack (Dixie) - Loggo and Dixie holding back Yosser from a fight
Jurell Carter (Loggo), Jay Johnson (Yosser) and Mark Womack (Dixie)
The 2025 Tour Cast of Boys from the Blackstuff - Police on stage trying to catch Yosser. Dixie and Todd trying to pull them back.
The 2025 Tour Cast of Boys from the Blackstuff

Boys from the Blackstuff Performance & Cast

As much as I would like to add some more positives, I wasn’t overly impressed by the performance as a whole. The cast were ok, I’m sure they are very talented and they did hold the story well, but the overall show felt very underdeveloped. The pacing felt all over the place, not helped by the fact we had a power-off situation. The scene changes, where there weren’t blackouts, were overly stylised. The more emotional moments fell short of hitting the right note with an odd mix of slow-motion movements that looked more like they were attempting a contemporary dance.

Jay Johnson played the role of Yosser well, his physicality was great all the way through. My favourite character was Ged McKenna’s George, a big softie, knows who he is and cares for the people around him.

Overall Rating of Boys from the Blackstuff

I have um’d and ah’d over whether to go for two stars or three but the more I think about it, I think I’m going to have to go with two. Honestly, a lot about this show fell short of what could have been. The play itself has a lot of potential. There was some great one-liners and funny get-the-audience-involved moments. It is a very important story to tell, with lots of relevant themes for today’s audience. I’d be interested to see the play being directed in a completely different way. For a professional touring production, connected with the National Theatre, I was expecting so much more. Had this been an small theatre company, a group of students or something alike, I would be able to understand the fall backs.

Unfortunately, this one didn’t do it for me but the venue and staff were absolutely lovely. I have been there a few times now and always enjoy my experience. Thanks for hosting me Leeds Grand!

Accessibility

The general triggers for this play are strong language, flashing lights, a gunshot and depictions of violence, grief and death. From an audience perspective, the gunshot didn’t seem too loud, it actually seemed oddly quiet. The flashing lights also were not too obnoxious, mostly hidden by set pieces.

Value for money

Ticket prices at the Leeds Grand Theatre for this show range between £27-£50 which is not too bad for a touring production of this scale. Was the show worth that amount of money, maybe not but that’s just my opinion. Leeds Grand do have some good offers on though to help you get a better deal.

For example, if you book any two of their summer dramas (Boys From The Blackstuff, Sir Derek Jacobi, Pride & Prejudice* (*sort of), Little Women, By Royal Appointment, and The Girl On The Train) you can get 20% off tickets to both shows. Book three to get 30% off, book four to get 40% off, book five to get 50% off, and book all six to get 60% off. These offers work across all price ranges too!

Tickets and more information about the show are available here.

Have your say!

Have you seen Boys from the Blackstuff? Let me know in the comments and let’s get a discussion going.

As always, please be respectful of each other’s opinions and be kind to each other. Bullying will not be tolerated and harmful language will be removed. 

Head over to the Terms and conditions page to learn more about our policies, here at StageSideUK.

Follow us on Twitter and give our page a like on Facebook.

Featured images have been referenced and are used in line with fair usage, in the copyright act.

Kira Curtis

By Kira Curtis

Kira is a Lancashire-based researcher, facilitator, and scenographer currently working on a practice-as-research PhD at Lancaster University. Her research uses scenographic exploration as a method for sustainable futures, particularly in Blackpool. Outside of this, she works on various nature and theatre projects and is a co-director of Ecostage, placing ecological thinking at the heart of creative practice.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.