Latest news with #BoysfromtheBlackstuff
Leader Live
3 days ago
- Entertainment
- Leader Live
What's on this July: Theatr Clwyd and William Aston Hall
The newly-refurbished Theatr Clwyd in Mold has kicked-off with a five-star production of Tick, Tick... Boom. And now, both the theatre and William Aston Hall in Wrexham are welcoming incredible plays, comedy, dance, music and much more to the stage. Boys from the Blackstuff (1-5 July) at Theatr Clwyd Directed by Theatr Clwyd's artistic director Kate Wasserberg, James Graham's powerful new adaptation of Alan Bleasdale's BAFTA award-winning TV series comes to Mold direct from the National Theatre and the West End. Packed with heart and humour, this is a compelling and moving story of family and friendship. Comedy Club (7 July) at Theatr Clwyd This month's club features a huge line up including Seann Walsh (Mock The Week, Live At The Apollo), Dan Nightingale (Have A Word Podcast), Adam Staunton (Hot Water Comedy Club Headliner) and Hayley Ellis ('brilliantly funny' Sarah Millican). Giselle (8 July) at Theatr Clwyd Ballet Cymru returns to the venue with an unforgettable journey filled with passion, betrayal, and forgiveness. A brand-new interpretation of this ghost-filled ballet tells the tragic, romantic story of a young Welsh girl named Giselle, who falls in love but dies of heartbreak. Daniel Lloyd a Mr Pinc (Image: Theatr Clwyd) Daniel Lloyd a Mr Pinc (12 July) at Theatr Clwyd In celebration of 20 years of their hit album, Goleuadau Llundain, the show will have you gigging once again. They will be performing songs from the band's repertoire and Dan's solo efforts as well as a few surprises. Join Daniel Lloyd before the gig alongside Phylip Harries and Caitlin Drake to listen to these three popular actor/musicians talking about their career and their experiences in the world of performance - from gigs, a few cheeky secrets from Pantoland! The Girl On The Train (15-19 July) at Theatr Clwyd Girl on the Train (Image: Theatr Clwyd) From page to stage, adapted from Paula Hawkins' novel is not to be missed. This gripping thrilling mystery will keep you guessing until the final moment. Starring Laura Whitmore (2:22 A Ghost Story) as Rachel Watson. Welsh of the West End (23 July) at Theatr Clwyd The viral sensations return this summer. Prepare to be dazzled with stunning vocals by the stars of West End hits including Les Misérables and Wicked. King Arthur (24-26 July) at Theatr Clwyd Fans of Monty Python and Blackadder won't want to miss this. A comedy for the whole family, this hilarious retelling of the Arthurian legends will have audiences crying with laughter and become part of the legend themselves! An Evening with Lemn Sissay (Image: Theatr Clwyd) An Evening with Lemn Sissay ( 27 July) at Theatr Clwyd Following a sold-out show last year in the venue's temporary theatre – Lemn Sissay returns to let the light pour into the new building. With the unique chance to pepper Lemn with questions, expect the unexpected on a night bursting with light, warmth, honesty, humour and hope. MOST READ Milkshake! Live on Holiday (27 July) at William Aston Hall Family fun continues over at William Aston Hall with an all singing all dancing show starring your favourite Milkshake! characters. Rhythm of the Dance (26 July) at William Aston Hall And finally, dance comes to Wrexham. Featuring world-class musicians who play live on stage, star vocalists singing live and world-champion dancers, this mesmerising show is a completely captivating experience of pulsating rhythms with slick choreography performed at lightning speed. For further information or to book a show, visit the Theatr Clwyd and William Aston Hall websites.
Leader Live
21-06-2025
- Entertainment
- Leader Live
Boys from the Blackstuff to finish UK tour at Theatr Clwyd
Boys from the Blackstuff will finish its 20-venue run at Theatr Clwyd in Mold, from July 1 to 5. The play is James Graham's stage adaptation of Alan Bleasdale's classic television drama. It has already enjoyed sold-out runs at Liverpool's Royal Court, the National Theatre, and London's West End. Set in 1980s Liverpool, the story follows Chrissie, Loggo, George, Dixie, and Yosser—men who are out of work and desperate to provide for their families. The cast includes George Caple as Chrissie, Jurell Carter as Loggo, Jay Johnson as Yosser, Ged McKenna as George, and Mark Womack as Dixie. They are joined by Reiss Barber as Snowy, Amber Blease as Angie, and Kyle Harrison-Pope as Kevin, among others. The play has received critical acclaim since its premiere at Liverpool's Royal Court in September 2023, with the Daily Mail describing Bleasdale's writing as "packed with humour." James Graham, who adapted the original drama, said: "Alan Bleasdale's masterpiece is, a story proudly forged in the humour and voice of Liverpool, and it was a real honour and a thrill to open it to packed houses there last year, before bringing our show to London and the West End. "But Boys From the Blackstuff remains a story of national significance, with a lasting impact on British culture. "Taking it on the road, to communities around the country, feels like the most important thing we could be doing next with our story. "I'm delighted by the support and belief from Bill Kenwright Ltd, and Liverpool's Royal Court that birthed it." Alan Bleasdale, writer of the original TV drama, also expressed his surprise at the stage version's success. He said: "I never expected Boys from the Blackstuff to be quite the sell-out sensation it has become at Liverpool's Royal Court, at the National Theatre and then in London's West End. "What I always hoped was that the rest of the country might have a chance to see this magnificent adaptation by James Graham. "Now, that has been made possible by Bill Kenwright Ltd who have staged my theatre work since Are You Lonesome Tonight over forty years ago." The production is directed by Kate Wasserberg, artistic director of Theatr Clwyd. It features set and costume design by Amy Jane Cook, lighting by Ian Scott, and original music and sound design by Dyfan Jones. Movement direction is by Rachael Nanyonjo, and video design by Jamie Jenkin. Theatr Clwyd, which is currently undergoing redevelopment, will host Boys from the Blackstuff as its first touring production following the completion of building works. The tour covers venues across the UK, including Windsor, Richmond, Bromley, Bath, Blackpool, Glasgow, Birmingham, Liverpool, Cheltenham, Derby, Salford, Guildford, Leeds, Newcastle, Colchester, Doncaster, Stoke, Brighton, and Canterbury. Theatr Clwyd will host the final performances from July 1 to 5. More information and tickets for the Mold performances are available online.
Rhyl Journal
05-05-2025
- Entertainment
- Rhyl Journal
On this day: Titanic actor Bernard Hill dies aged 79
His breakout role was playing the character of Yosser Hughes in the Liverpool-set drama series Boys from the Blackstuff back in 1982. Throughout his career, he had major roles in television and film including Sergeant Putnam in the Oscar-winning 1982 film Gandhi, Cole in The Bounty and Joe Bradshaw in Shirley Valentine. Hill also featured as Captain Edward J. Smith in James Cameron's Oscar-winning film Titanic. Audiences also knew Hill for playing the role of King Théoden in two of The Lord of the Rings trilogy films. Hill was set to feature in the second series of The Responder on the BBC, with the first episode set to air the same day, May 5. Lou Coulson, his agent, confirmed to BBC News that he had died in the early hours of the morning. Hill was born in Blackley, Manchester and was brought up in a Catholic family of miners. He attended Xaverian College, and then Manchester Polytechnic School of Drama where he graduated with a diploma in theatre in 1970. From there he started making appearances in television and theatre before coming to prominence playing Yosser Hughes. Hill was married to the actor Marianna Hill, with whom he has a son named Gabriel. This story was first reported on by Carlo Simone on May 5, 2024.
Telegraph
19-03-2025
- Entertainment
- Telegraph
Dear England 2025, National Theatre, review: a brisk update of the decade's biggest theatrical triumph
British theatre's star-striker James Graham scores again with this updated reboot of his 2023 drama about Gareth Southgate's time as manager of the English (men's) national team. Factor in the hit Punch at the Young Vic and his touring adaptation of Boys from the Blackstuff, and you wonder if Graham himself should be England's manager; he never puts a foot wrong. Mind you, of course, the thrust of Southgate's gentlemanly 'revolution', as Graham portrays it, was that the path to glory lies in acquiring a resilience to defeat. Freed from the fear of making mistakes – and letting the country down – our 'lions' can learn to roar; sentiments notably re-expressed by Southgate this week in his Dimbleby lecture on masculinity in crisis. Being tolerant of vulnerability and failure is fine on paper; in practice, Southgate's tenure was judged on its big victories (or lack of them). The paradox of Graham's play is that when it was a 'work a progress', looking ahead, at the end, to the 2024 Euros – 'Boss, that's your third act', Harry Maguire suggested – it satisfyingly raised hopes even as it qualified them. There's no getting round the muted quality of the fresh ending here, notwithstanding the rousing sounds of Sweet Caroline with which Rupert Goold's production climaxes. Yes, Graham has the new manager Thomas Tuchel conclude: 'You made… the impossible job, possible again', citing England's restored form; but Southgate had dared the country to dream of achieving so much more, even as he invited everyone to self-reflect about those 'football's coming home' mantras. If anything, Graham could dwell longer on the concluding twist of the saga. One of Dear England's strengths is its in-built state-of-the-nation aspect, with cameos not just by managers past (Taylor, Eriksson, Capello) but hapless PMs, taking in May, Johnson and Truss; there's a missed goal, surely, in Sunak's bungled finale and symbolism in Starmer's take-over. Even so, the inclusive fascination and adrenal fervour of the evening remains. The way Graham marshals information is a wonder – here a stat, there a gag; the way Goold co-ordinates his (mainly recast) players a wonder too, combining fancy footwork (with mimed footballs), laddish horseplay and telltale unease as these barely-men are asked to open up, under the aegis of Liz White's shrewd psychologist Pippa Grange. All this is conducted on Es Devlin's monumental, luminous halo-dominated revolving set, which – assisted by giddying video too – conveys the daunting nature of crowded stadia. Each player, whether it be Jordan Pickford, Marcus Rashford or Bukayo Saka, comes to life, albeit there's too much mirth at the expense of Ryan Whittle's inarticulate Harry Kane. Crucially, though, Gwilym Lee tackles the role created by Joseph Fiennes last time round with immaculate, angular assurance. His Southgate is as close to uncanny impersonation as required, but balances the tics (fidgety eyebrows, hands in pockets restraint) with a thoughtfulness part-fuelled by the palpable pain of that notorious missed penalty at the 1996 Euros. The now-knighted Southgate has yet to see the show. The time has come: whatever his shortcomings the evening affirms him as a national treasure.
The Independent
07-03-2025
- Entertainment
- The Independent
James Graham's Punch is a powerful yet sometimes preachy take on violence and reform
After a messy day of boozing, Jacob mindlessly threw a single punch that wrecked four lives – paramedic James sustained a fatal head injury, and his parents were left reeling as his attacker was packed off to prison. This latest work from wildly prolific playwright James Graham (Dear England, Boys from the Blackstuff) was a hit when it debuted last summer at Nottingham Playhouse, in the city in which its set and whose sharply drawn social divides cut through its story. Transferring to the Young Vic, its thoughtful search for meaning in a senseless act leaves the audience noisily sobbing. The story's big central theme is restorative justice – a process that puts people affected by a crime in contact with those who committed it. The aim is to avoid surprises, with everyone in the room carefully prepped so that there's no shouting, no accusations, no ugly scenes. It's calculatedly undramatic. So Graham's challenge here is to find new ways to bring tension to the table. David Shields is utterly convincing as a 19-year-old lad who's drifting, looking to beef up his flimsy excuse for a life with pub brawls. 'A fight is coming tonight… and I can't wait,' he says, licking his lips, pulsing with energy that needs an outlet. His nights are a joy ride: a weed deal here, a flirtation with a girl there, as the cast duck and weave about in hoodies. At home, he spends hours playing a computer game, one which Adam Penford's production makes ring with synth sounds and glow with flashes of brightly coloured lights. Then, things get real, and a new kind of drama starts. Julie Hesmondhalgh and Tony Hirst deliver moving, grounded performances as James' grieving middle class parents – his mother's deeply felt need for answers gradually overcoming the father's erupting rage at the stranger who wrecked their family. Little by little, they move towards a world where they can sit across the table from Jacob, guided by a restorative justice facilitator (Shalisha James-Davis) who tells them about his difficult past, about his determination to sort his life out and go to uni. Their final meeting is nail-bitingly intense, two worlds colliding in slow motion. As always, Graham has got a sharp eye trained on the political and social conditions beneath this story. Projected PowerPoint slides educate the audience on Jacob's plummet from carefully raised member of the 'aspirational working class' to school dropout, paralleled by the Meadows estate's plunge from utopian social housing project to drug dealers' playground. It's a story that needs to be told, especially as Graham subtly points to each government service that's being cut, each former safety net that's being whipped away. But still this play often feels overly didactic, with little moral complication, and little to surprise or challenge existing views you might have of any of the people involved: sometimes we slip into the territory of the TED talk, which Jacob, reformed and out of prison, proudly does in its second half. Instead, it's a potent, emotive shot of hope, one that defuses its drama with profound care and sensitivity.
