Review: TRAINSPOTTING, The Vaults, 8 November 2016

Incredibly, it is over two decades since Irvine Welsh's cult classic, Trainspotting, landed on bookshelves and 20 years since Danny Boyle's film impacted on modern culture in a way rarely seen before.

The hard-hitting story of addict Mark Renton and his circle of misfit friends, set in early Nineties Edinburgh, became the definitive commentary on drug culture. Now the King's Head Theatre and In Your Face Theatre brings a visceral and immersive portrayal of Harry Gibson's stage adaptation.

The audience is given glow sticks on arrival and enters the dark and atmospheric confines deep in the bowels of The Vaults, to be greeted by an ear-splitting rave with the whole cast encouraging you to join in. The claustrophobic and gritty, urban setting is perfect, with the cast playing to four sides. Adam Spreadbury-Maher's direction brings across the dark comedy of the story and the casual violence is stark; it's a vicious and squalid world that the characters inhabit. The first 10 minutes of the production are utterly chaotic and confusing - an apt reflection of their lives.

There are no boundaries between the cast and audience. Drinks are spat, soiled sheets are thrown and random people are abused and screamed at. While this is both shocking and effective, it's also occasionally distracting. It is hard to concentrate on what's going on at the other end of the stage when ducking for cover from detritus being thrown around or when a cast member is rolling on top of people in front of you.

Those familiar with the story will see that much has been omitted to enable the play to last only 75 minutes. Renton's relationship with schoolgirl Diane is cut completely; although sordid, this is a genuinely funny part of the original story. To omit it is to enhance the dark and raw nature of this production.

The characters interact with each other, but the writing means they also often switch to describing the action in front of them in detail. As the friends inject yet another hit, the language is oddly poetic and then becomes excruciating. An easy watch, this play is not.

The cast is talented and passionately committed. Gavin Ross plays Renton, the drug addict trying repeatedly to get clean. He is a desperate yet sympathetic character and Ross gives a very physical performance; his wide eyes are sunken and his body rises and sinks in tandem with the level of his addiction.

Chris Dennis is terrifying in his portrayal of Begbie, a sociopath whose violence and animalistic behaviour is truly shocking. A scene where he beats his heavily pregnant girlfriend June (beautifully played by Rachael Anderson) is both highly disturbing and alarmingly realistic. Greg Esplin is heartbreaking as Tommy, the innocent whose descent into addiction is horrifying and tragic. One standout performance comes from Michael Lockerbie, who plays Sick Boy. His role is not huge, but his desperate and broken reaction as he clings to a dead baby sticks firmly in your mind.

The lighting is stark and unforgiving. Clancy Flynn's design is very effective, especially the strobe effect used as Tommy overdoses. Tom Lishman's sound is so loud you are offered earplugs at the entrance, but creates a brilliantly immersive experience, especially during the rave scene at the beginning. Iconic tracks from Underworld and Oasis set a very specific scene.

Prolific drug use, nudity and the high rate of obscene language and actions make this a show to avoid if you are easily offended. It is brutal, dirty and unapologetic. What is so striking about this performance is that after only 75 minutes, you feel distinctly shell-shocked.

It's not for everyone, but if you can stomach it, you will leave feeling you have seen something unique.

Trainspotting is at The Vaults until 15 January 2017

Photo Credit: Geraint Lewis

To post a comment, you must register and login.