Trainspotting The Musical
If you take an iconic book and film that influenced a generation and decide to make a musical from it, you need to do something special with it. From the start, Trainspotting the Musical fails to grab the attention I’m willing it to command. The opening sequence – which is about 5 minutes too long – tries to establish character, plot and place. It feels more like the sort of cross-over scene traditionally performed as a recap at the end of Act 1. There is no big opening number (although ‘Lust for Life’ from the original film forms the bed and does appear throughout the scene) and the dialogue seems mostly shouted in such a thick Edinburgh accent that we miss most of what’s going on. I accept that I write from a Southeast England perspective, but accent is not usually an issue for me. When Renton (Lewis Kidd) finally addresses the audience, centre stage to deliver the iconic ‘Choose Life’ monologue, it doesn’t land with the impact that it should.
I appreciate that the writers have tried to amplify some of the peripheral characters in this version of the story, but in that choice, the hard-hitting impact of the original film is lost.
The first time the music makes any sense is when Spud’s mum occupies centre stage alone to sing a lament to her lost boy. It’s a song that has the sort of Everybody’s Talking About Jamie/Dear Evan Hansen distraught mum feel. But just when the song gets going, it stops, and the audience hesitates in offering applause in case it’s not over yet.
Later, in a sequence when Renton, Sick Boy (Sheridan Townsley) and Spud (Kieran Andrew) are being interviewed for jobs they have no intention of taking, they sing ‘Youth Opportunities’. For some inexplicable reason, Tommy (Finlay Paul) appears, ushers the interviewer off stage and sings along with the boys, not having played any other part in the scene.
The most moving moment happens at the end of Act 1, following the tragic death of Alison’s (Rosie Dignan) baby. The cast sings ‘Perfect Day’ with such heart that it brings welcome relief. Act 2 is stronger, mostly due to the use of familiar songs and a more discernible, developing plot. Unfortunately, while in isolation they are good compositions, the original songs in the musical don’t convey the hard-hitting, gritty, edgy tone of the musical.
Two of the most iconic moments in the film are obviously anticipated but the audience. How are they going to deal with Spud soiling himself? How are they going to deal with Renton disappearing around the U-Bend of the toilet? The answer is ‘not particularly well’. Spud produces a stained bed sheet which we can see is going to be unfurled, and it’s simply carried off with little reaction from the landlady. Renton’s scene employs the use of video projection, which is good – but the whole thing is so sanitised, you’d believe he’s swimming in chlorine. They do handle his cold turkey scene with better impact.
I have to say that the cast does well with the material they’re working with. Vocally, they are on point and there are strong performances, particularly from Townsley and Andrew. Sadly, this is the most positive thing I can say about the musical. Renton says, ‘Choose life’. I’d recommend you ‘choose another show’.
This show was reviewed on the 23rd July at Theatre Royal Haymarket, London where it runs until the 5th September 2026. Tickets and details of the touring dates here: Trainspotting The Musical - West End
Review written by Ian Worsfold
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Photo credit : Matt Crockett
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