Trainspotting | Theatre Royal Haymarket

Whilst the sheer amount of art we have the liberty to create, such as theatre, film and novels is something to celebrate and cherish Trainspotting's fourth artistic excursion is proof that not every story has to be told through all these forms.

Having found success as an acclaimed novel, cult classic film and a successful play, Irving Walsh clearly saw the opportunity to take on the challenge of musical theatre, unfortunately this may have been too big a challenge to overcome.

Theatre Royal Haymarket itself hosts with its gorgeous interior and grandeur, which already feels juxtaposing to the grunge 90s aesthetic of the piece. The stark difference from what is onstage and what is offstage does bring an imbalance. More of an intimate, fringe venue may have felt a more appropriate and facilitated space for the audience to get more settle in to the upcoming ride.

That's not to say that what is on stage is not good; Colin Richmond's distinct set hosts for dynamics and provides space for the intriguing element of video design by Douglas O’Connell, which truly strikes when using filmed footage.

The cast grace the stage with great energy; Lewis Kidd's Renton controls and drives the piece with great strength. Sheridan Townsley delivers phenomenal vocals as Sick Boy. Finlay Paul stands out as Tommy, a sure audience favourite bringing fabulous vulnerability and vocal talent. Criminally underused but mighty, Melanie Marshall delivers the most tantalising vocals throughout. Finally, Rosie Dignan thrives in her professional debut as Alison, a truly top tier performance.

Caroline Jay Ranger brings some exciting choreography through her movement direction, really bringing certain passages of the piece to life. Yet unfortunately the direction tends to fall flat in other moments; the pacing feels incredibly confusing and hard to follow. This is not helped by the audio levels feeling really inconsistent, the music seems to overpower the band and there are many moments where people would speak over others singing, the mixing of music, singing and speech made almost everything unintelligible and added a level of difficulty to view.

There are some incredibly confronting and brutal scenes throughout, especially the Act One

closer. Whilst this is a commonly known intellectual property, the disclaimers and advisors for this show felt sparse and inaccessible which is difficult for such a heavy piece. Whilst it is important that these issues are addressed and platformed through multitudes of art, the heavy nature of the piece did not feel suited to a musical. When there are certain numbers that are used for a tongue in cheek “haha we are a musical!” number sitting alongside a dramatised Bitter Sweet Symphony as a gateway for an important segment about AIDS, there is inconsistency in genre, style and severity which creates a lack of impact.

There is discussion from the creatives surrounding the show who believe the production is important for now as addiction has been monopolised and capitalised to insane highs (which is an undoubted fact), yet there is not enough lean into this angle for the piece to feel urgent and needed. It remains very surface level, not even giving us insight into recovery and rushing through the points that could drive home the damming links between finance and addiction.

These constant pit stop plot events and think points devoid the musical of its weight and importance. Whilst there are some moments in the second half that are stronger, such as the final story beat, which creates an incredibly engaging sequence, and the AIDS storyline is very important especially for a heterosexual perspective and audience. However, these points are rushed through leaving a fleeting incomplete feeling for audiences.

Whilst the team have certainly attempted to craft Trainspotting into an authentic British Musical that facilitates space for discussions sparsely had on musical theatre stages, there are significant rail delays in delivering the need behind this story becoming a musical.

Trainspotting the Musical plays at the Theatre Royal Haymarket until 05th September before heading out on a UK tour - tickets and more information can be found here.

★★☆☆☆ (2*)

Gifted tickets in return for an honest review | Photography by Matt Crockett