ED FRINGE REVIEW
When discussing Irvine Welsh, language is key. Storytelling unfolds mercilessly, supported by the unique, unrestrained dialects of characters who transport readers in novels defined by grit. Welsh's '93 novel 'Trainspotting' was brought to life on the silver screen by director Danny Boyle in 1996. In Yer Face Theatre have been bringing Welsh's characters kicking and screaming to the Edinburgh Fringe since 2013. Set in the same city as Welsh's original novel, 'Trainspotting:LIVE' as a per annum Fringe show is a natural sellout. For both first-timers and avid Boyle/Welsh fans, expectation brims upon becoming immersed in protagonist Renton's world; a narrow traverse tunnel space gleaming with glow-sticks from the wrists of audience members, distinctive rave music booming. Arranging seats in a traverse tunnel, action and audience are pulled closer together, more claustrophobic during the story's more harrowing scenes. However, technicalities are flawed when key moments are missed due to seat allocation, any particularly squeamish moments often hidden from view and seriously toned down from previous years. Heroin equals adrenaline and here the cast excel, full throttling their performances from start to finish. When playing individuals under the influence, standout scenes expose the nastiness of drug sub-culture, Tommy's character demise in particular highlighting a risky spiralling of addiction which causes audiences to empathise. Gavin Ross as Renton shows good versatility on both sides the protagonist's addiction, likeable to the audience and all the more disconcerting in his weaker moments. Whereas interaction and immersion establish an exciting connection, the novelty quickly dissolves into expectation in the space, the focus on comic interaction from the cast tending to disturb rather than improve the narrative. With a story focusing on a group of heroin addicts, inclusivity asks more of the cast, with misplaced humour losing a sense of sincerity in some scenes. Cramming Welsh's fiction into just seventy five minutes is no easy task. For those new to'Trainspotting,' the efforts of the performers are well met where expectation is less high. Though this show packs a punch, it also poses new questions for companies considering 'new' adaptations. (If such a thing exists.) Whereas ticket sales are guaranteed, summoning characters from fiction can prove tricky, especially when designing a show from a popular franchise. Despite tackling a new genre, 'Trainspotting: LIVE' breaks less ground than its predecessors by playing to established fans. The show's reception however continues to shed fresh light for new audiences, its reputation helping to contribute to a decade-long love for Welsh's fictionalised tale of a bustling city. Whereas new creative ground remains to be broken, several choices continue to resonate through familiarity. So choose life. Choose 'Trainspotting: LIVE.' And, most importantly... Choose Theatre. Renton is waiting...
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Nothing beats the thrill of discovering a new musical. Welcome to the kick-start article of my First Impressions series (aka my groping around in the dark for an understanding of musicals that I know very little about) Like a mystery puzzle, I'm keen to fill in the gaps and follow any musical clues - no Wikipedia explanations allowed. Now, before you say I'm mad, we've all been there. Opportunity always calls when a new musical lands into our laps, an opportunity calling us to jump in at the deep end, Scooby-Doo style and imagine the storyline for ourselves. Through our headphones we hope to put the writers to the test and hope to connect to the music, often drawing our own mad conclusions that make us feel like Sherlock and Watson combined… Just an hour ago, before this crazy venture began, my knowledge of Dear Evan Hansen was fleeting. The only facts I'd managed to grasp of Pasek & Paul’s hit 2016 musical was its title and promo image of some pale headless guy with a broken arm who may have been the nerdy magician from Pitch Perfect. *The remainder of this post follows the highlights reel of a blind, one-woman account of the show that won Tony’s for Best Musical, Best Actor and Best Score. The following should be nominated for Best Guessed... |
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