Theatre Royal Haymarket (studio)
23 July 2026 (released)
4 h
The evolution of Trainspotting from Irvine Welsh’s 1993 cult novel to Danny Boyle’s generation-defining 1996 film, and later to Irvine Welsh and Phil McIntyre’s immersive stage production, has now culminated in a full-scale West End musical. Opening this week at the Theatre Royal Haymarket, this latest adaptation attempts to translate the raw, frantic energy of 1980s Edinburgh heroin culture into a structured theatrical score. Transferring a narrative so steeped in squalor, addiction, and cynicism into a commercial West End venue presents an inherent challenge, yet this production attempts to bridge that gap by framing its grim realities through live music and dark comedic set pieces.
Audience members stepping into the Theatre Royal Haymarket can expect a stark, stripped-back staging that contrasts heavily with the venue's traditional Victorian surroundings. The narrative follows the familiar trajectory of Mark Renton and his circle of friends as they navigate addiction, unemployment, and existential dread in Thatcher-era Scotland. Visually, the staging draws on on industrial textures, harsh lighting, and swift scene transitions to maintain the frantic pacing of Welsh's original prose.
Musically, the show relies on a live four-piece band positioned just off-stage, visible through an open doorway in the set's side wall. The score spans a surprisingly wide variety of genres, ranging from aggressive punk and post-punk numbers to unexpected genre parodies. One such departure occurs during "The Eckies and the Brown," where the cast launches into a country-and-western line dance driven by the scathing, repeated chorus "C*nts run the country."
When Renton first breaks into song, the sudden shift from gritty spoken-word dialogue to musical theater convention risks pulling the audience out of the drama. However, the potential awkwardness is immediately defused by Spud, who turns to the audience and asks, "Is this really happening?"—a line delivered with sharp comic timing. This self-aware approach allows new numbers like "Rolling With The Punches" to land effectively without undermining the production's underlying tension.
The cast delivers distinct performances across the board. Kieron Andrew plays Spud, securing the majority of the evening's comedic beats with a physical, well-calibrated performance that brings essential light relief to the surrounding heavy subject matter. Conversely, Frankie O’Connor portrays the volatile, violent Begbie with an unsettling realism, capturing the character's unpredictable aggression without tipping into caricature. Lewis Kidd steps into the central role of Mark Renton. Kidd's depiction leans into the character's bleak desolation, never quite capturing the charismatic glamour Ewan McGregor brought to his 1996 cinematic counterpart.
The production handles its darkest thematic turns through stark musical contrast. A harrowing sequence centered around the death of Baby Dawn is choreographed alongside a quiet, haunting rendition of "Perfect Day," creating a bleak atmosphere that anchors the end of the first act. Elsewhere, a dramatic arrangement of "Mad World" is deployed during a pivotal moment of crisis, underscoring the severe consequences of the characters' choices.
Divided into two distinct halves, the musical inevitably experiences pacing fluctuations as it balances rapid-fire dark comedy against periods of intense bleakness. While the transition from gritty counterculture novel to West End musical remains an ambitious leap, the production delivers a compelling, punchy, and thoroughly engaging theatrical experience.
Search and buy tickets securely below.
Photo credit: Matt Crockett
