London Theatre Review: Trainspotting The Musical

You have to hand it to Irvine Welsh - the man knows how to surprise an audience. And surprise the audience he does with Trainspotting The Musical, the theatre adaptation of his 1993 debut novel Trainspotting.

Written by Irvine Welsh and directed by Caroline Jay Ranger, the cautionary tale of addiction set in working class Scotland has arrived at the Theatre Royal Haymarket in London to bring audiences a fresh glimpse into the lives of Renton (Lewis Kidd), Sick Boy (Sheridan Townsley), Spud (Kieran Andrew), Begbie (Frankie O’Connor) and Tommy (Finlay Paul), alongside their long-suffering friends and family.

Thirty years on from Danny Boyle’s film adaptation, Trainspotting The Musical clearly draws on a lot of the visual elements of the 1996 film. Keen eyes will notice that some of the more iconic outfits from the film are replicated on the stage in impressive detail, from Renton’s yellow t-shirt with slim fit jeans to Spud’s comically large shirt collar and tinted glasses combination.

Of particular note is the character of Spud, who Kieran Andrew brings to life with his twisting and squirming limbs. His ability to bring Spud’s character alive on the stage is a real highlight, and coupled with Sheridan Townsley’s vocals as Sick Boy, it’s clear to see this is a truly talented cast. Frankie O’Connor’s Begbie dominates the stage with his presence, with audiences sure to feel a shiver down their spine during the more violent scenes, and Lewis Kidd embodies Renton in some of the most striking moments. 

Kelly (Yana Harris), Alison (Rosie Dignan) and Lizzie (Sophie Hutchinson) see less time in the spotlight, but when the focus turns to them they provide sweet vocals and powerful belting songs in all the right places. Off-stage, Melanie Marshall, who is billed as ‘the call of heroin’, supports the stage with a powerful voice that silences the room during the more sombre scenes. The musical’s original songs, composed by Irvine Welsh and Stephen McGuiness, fit comfortably between more familiar songs that fans may recognise, including Lust For Life by Iggy Pop and Lou Reed’s Perfect Day.

In a bizarre moment of light projections and body contortions, you could find yourself thinking the infamous toilet scene was strangely beautiful. It was such an unexpected moment of serenity that the production then does an excellent job of wrenching you out of, reminding you that the moments of calmness are short-lived.

There is much of this within the show. Gritty scenes depicting heroin use are immediately contradicted by a full cast line dancing performance, set to jaunty country music and complete with cowboy hats and overly-joyous expressions. In a moment that is seemingly bright and jovial, it is a far cry from the situation that Renton so often finds himself in - laying beside his friends in a dirty room, with the impending comedown looming over his sweat-soaked body.

The set is designed with a separate box room in the centre of the stage, which the company uses in a range of different ways to create visual interest for the audience. The elevated platform and alleyways towards the back of the stage add another layer of storytelling; while the main action happens in the centre of the stage, characters can be seen smoking contemplatively or quietly bickering, with the audience looking in on a multitude of story lines unfolding before them.

For fans of Trainspotting, the play gives further insight into Irvine Welsh’s characters and the world they operate in - if you’re looking for a fresh take on the story, this could be your answer.