Theatre News

Boys from the Blackstuff to transfer to the West End

The show will head direct from the National Theatre across the Thames

Theo Bosanquet Alex Wood
London
Boys from the Blackstuff at Liverpool's Royal Court, © Jason Roberts
Boys from the Blackstuff at Liverpool’s Royal Court, © Jason Roberts

Boys from the Blackstuff, James Graham’s WhatsOnStage Award-nominated adaptation of Alan Bleasdale’s acclaimed TV show, will transfer to the West End after its spell at the National Theatre.

The production, directed by Kate Wasserberg, returns to Liverpool’s Royal Court, where it premiered last autumn, from 19 April to 11 May followed by a run at the National’s Olivier Theatre from 22 May to 8 June. It will then play a strictly limited eight-week season at the Garrick Theatre, beginning performances on 13 June.

The cast includes Aron Julius as Loggo, Nathan McMullen as Chrissie, Barry Sloane as Yosser and Mark Womack as Dixie, George Caple as Snowy/Kevin/Scotty, Dominic Carter as Molloy/Marley/Landlord/Catholic Priest/Policeman, Helen Carter as Miss Sutcliffe/Freda/Margaret, Lauren O’Neil as Angie/Jean/Lawton/Student/Lollipop Lady, Jamie Peacock as Moss/Anglican Reverend, and ensemble member Liam Tobin.

The show is produced in the West End by Bill Kenwright Limited. It has set and costume design by Amy Jane Cook, lighting design by Ian Scott, movement direction by Rachael Nanyonjo, original music composed and sound design by Dyfan Jones, associate sound design by Kate Harvey, audio visual design by Jamie Jenkin and fight direction by Rachel Bown-Williams of Rc-Annie Ltd.

Graham said of adapting Bleasdale’s drama: “To work with Alan Bleasedale in the room has been the biggest treat of my life. He’s one of the reasons I became a writer. I think Boys from the Blackstuff is more resonant today than it’s ever been before.

“We’re living through a time right now, with the cost of living crisis, where those fears and that anger towards the lack of hope, the lack of a plan to get us out of this crisis, makes an audience respond and react. And because of how iconic these characters are, and because of all those famous lines that a lot of people still remember, I think it’s going to feel alive in the theatre. It’s actually really funny: Alan Bleasedale is a hilarious writer and Liverpool has this gallows, dark sense of humour that cuts through all the tragedy and all the bleakness.”