Trainspotting at the Kings

Photo Credit: Kings Theatre

According to a press release by the Kings Theatre, “It’s just a scabby wee book, what the fuck is all the fuss about?” is the question Irvine Welsh asked himself before seeing the first rehearsals of the stage adaptation of  Trainspotting back in 1994.

Director Gareth Nicholls brings the story back to the Kings Theatre 23 years after the wee book about the underbelly of Leith’s drug scene gained global notoriety through film and multiple stage productions.

Nicholls’ production however draws from the original book, play and film, combing them to make a new piece of theatre.

Even before the show started the crowd was drawn into Thatcher’s Britain with a well thought out pre-curtain soundtrack, building anticipation by rekindling fond memories of the film.

After the recent success of T2, revisiting the original story seemed to be a logical step.

The first scene dropped straight into the middle of the story and automatically gave any new viewers an insight into the characters and where the story was going to take us. Renton (Lorn Macdonald) and Spud (Gavin Jon Wright) sat in a spotlight discussing how not to get the job they were both applying for: “a wee dap ay speed just the ticket.”

The first thing that was very apparent was how accurate both of the young actors’ Edinburgh accents were, something that McGregor’s on screen Renton lacked. It was a set up for what was going to be a very enjoyable performance.

With a cast of just five and multiple characters to include, it was interesting to see how the actors were going to cope portraying such well known fictional personalities.

This was achieved seamlessly. The costume changes were so quick that sometimes it was hard to notice that they had been offstage at all. This was matched by the ability of the actors to move between their personas.

Photo Credit: Kings Theatre

Although it was hard to fault a single performance, a special mention has to be given to Jon Wright’s portrayal of Spud. From comic timing allowing time for the laughter to settle between his jokes to his facial expressions and his movement, he had the character down to a tee.

The inclusion of long monologues for all of the characters helped to give the story real depth. The script also expanded the story to include a lot of important material which the film did not and the first hour flew by.

The dark humour of the book was masterfully delivered, giving light to the hopelessness of the time and occasionally making you question if you should be laughing at all.

Given the growing gap between the social classes and the rise in drug-related deaths in Scotland, the story is as relevant today as it was in 1994.

Whether you are a fan of the original or someone who is new to Trainspotting, this is a five star performance which should not be missed.