Review: Trainspotting (08/06/17, The Lowry, Salford) *****
In Your Face Theatre company promised to live up to their name with this punchy 21st anniversary production of Irvine Welsh's Trainspotting - a darkly comic, drug-fueled journey through the social underbelly of late-80s Edinburgh. This version of Harry Gibson's original stage adaptation, directed by Adam Spreadbury-Maher with Greg Elspin, is touted as "a no holds barred, in-yer-face theatre production...your ticket to a ride you won't soon forget." Never have truer words been spoken.
If the publicity poster - warning of nudity, very strong language, violence, sexual references and needle use - wasn't enough to heighten the waiting audience's anticipation, being presented with earplugs, glowsticks and a warning that anybody leaving the 75-minute performance would not be re-admitted certainly was. As we enter, the seven-strong cast are engaged in high-octane dancing as a number of rave classics are blasted around The Lowry's Quays Theatre. The reason behind the ear plugs becomes immediately evident.
Between bouts of crazed dancing, the cast direct audience members to banks of intimate seating. Other than a narrow strip of floor space, no stage is evident. One couple is seen to make a last-minute dash from their centrally-located seats to a presumably "safer" position.
Since Danny Boyle's cult film of 1996, an unwritten rule dictates that any production of Trainspotting must open with the infamous "Choose Life" monologue. Gavin Ross, playing Renton, duly obliges before launching into a shocking and very, very candid account of a failed sexual encounter.
It is clear that the audience have never experienced such an immersive level of theatre before but, thanks to the talent of the actors, the approach becomes unexpectedly enjoyable. A sense of solidarity and unity can be felt as we become completely involved in a unique experience. Even the man who worriedly switched seats moments earlier is now more than happy to dip into Renton's bag of speed.
The first half of the performance is filled with dark humour as the storyline flicks between numerous anecdotes (in a similar style to the chapters of Welsh's original novel) and introduces the characters. Chris Dennis is superb as the psychopathic Begbie, rampaging through the audience in a hugely entertaining - and more than slightly unnerving - manner. Greg Esplin's (Tommy) performance during a job interview scene is a comedic highlight. Rachael Anderson (Laura/Ensemble) also draws laughs with another exceptionally frank bedroom anecdote.
The second half adopts a more serious, emotional tone. Scenes of domestic violence and heartbreak highlight the underlying tragedy of Trainspotting. Michael Lockerbie (Sick Boy) and Erin Marshall (Alison/Ensemble) convey their pain excellently during heart-wrenching events in the flat of "Mother Superior" (Calum Barber). Sound and lighting is used to amazing effect as the bleakness and despair intensifies after Renton offers Tommy his first hit of heroin.
Trainspotting is certainly not for the faint-hearted. It is as shocking and disgusting as it is humorous; as controversial and offensive as it is poignant. The lack of designated stage and in-your-face acting style does take some getting used to. However, this should by no means be a put-off. In Your Face Theatre have put together a stunning production. Trainspotting is a theatrical experience like no other. Unmissable and unforgettable.
Run ended.
* * * * *
Words: Samuel Wilson (sammy@quaytickets.com)
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