REVIEW: TRAINSPOTTING @ THEATRE ROYAL HAYMARKET

🎭 Trainspotting

📍 Theatre Royal Haymarket, 18 Suffolk Street, London, SW1Y 4HT

🗓 Saturday 15th August 2026

⭐️ 1 Star

A BAD TRIP

I had spent the most absolutely lovely summer afternoon in London with some dear friends, and I practically had to drag myself away from them to head over to the theatre. But you all know how much I love a bold theatrical risk. When I first heard that Irvine Welsh was teaming up with director Caroline Jay Ranger to bring a musical adaptation of TRAINSPOTTING to the iconic Theatre Royal Haymarket, I was genuinely fascinated. I was a huge fan of the film back in the 1990s - I used to watch it on loop!

I did wonder if a musical adaptation was truly the right choice, rather than a straight play. Moving from the raw, sweaty, counter-culture energy of the 90s book and film into a massive West End musical format is an incredibly massive swing. But I wanted it to work. I really, deeply did. But sometimes, a swing is a total miss, and it breaks my heart to say that this one is a bit of a bad trip.

Let’s start with the concept, because Irvine Welsh has tried to do something genuinely interesting here by updating the story for 2026. Instead of a pure 90s nostalgia fest, the classic characters - Renton, Sick Boy, Spud, and Begbie - are dealing with modern mutations of addiction. We are talking about the shift from heroin needles to the isolating glow of digital screens, framed against contemporary economic stagnation. Conceptually? Brilliant. It is a necessary conversation about modern powerlessness. But in execution on the Haymarket stage, it just feels clunky and incredibly heavy-handed. The grit and danger that made the original story so vital feel completely sanitised when polished up for a West End auditorium. It's far too tame, and frankly, it's just baffling. There is no real grit, no edge, and the whole thing borders on cringeworthy.

I hate to say it, but I couldn't help but constantly feel like I was watching a workshop of a new musical, rather than a polished West End production. The scene transitions - especially throughout act one - felt extremely clunky. It was almost as if there was an uncertain hesitation between the cast and the crew, which just made for an awkward watch. Elements that worked beautifully in the film, such as Renton's voiceover narration, just simply don't work here. On stage, it feels like a lazy excuse to rush through scenes, and it literally strips any real emotion out of the show. TRAINSPOTTING should be hard-hitting and a difficult watch, but this adaptation is monotonous, sterile, and, dare I say it, boring.

The technical elements do the material no favours either. The lighting design has fleeting moments of potential but never quite delivers on them. Meanwhile, the sound design is absolutely terrible. It sounds as if the band are somehow performing underwater, and the sound levels are absolutely atrocious. During the well-known songs, I could only make out the lyrics because I already know them by heart, but on the new songs, there's absolutely no hope of deciphering what is being sung. Then there are the video design elements, which felt extremely amateur. There was one single moment during act two where the video really stood out and worked well, but it leaves you wondering: where on earth was this level of creativity throughout the rest of the evening?

From a structural standpoint, there are some massive creative missteps. The most egregious is where the iconic song "Perfect Day" features. In the movie, this tracks over a harrowing, unforgettable scene where Mark Renton overdoses on heroin. Here, the company sings it right after the baby dies, and it just feels incredibly misplaced and jarring.

Some things just made absolutely no sense to me whatsoever. The random character who remains slightly obscured behind a door throughout the performance was just incredibly distracting. She occasionally wanders onto the main stage to sing, but there was nothing in the staging or script that seems to explain who she actually was. It was only from reading the programme afterwards that I realised she was meant to represent the abstract call of heroin. Also, what on earth were the country music elements all about? A line-dancing hoedown in the middle of Leith? Baffling.

A notable number of people in the audience had obviously given up after act one. The people sitting on either side of me, and those directly in front of me, never returned after the interval. There were other noticeable patches of empty seats throughout the auditorium. I personally decided to stick it out for the sake of the review, but if anything, things got worse during the second half. It just dragged on and on, and I found myself actively willing it to end. Some people did give loud applause at the end of the night, but it's worth noting that not one person gave the show a standing ovation. Usually I complain that people give a standing ovation no matter what, so the lack of one here was unusual - especially for a musical.

Is there a silver lining? Absolutely, and it comes down to the sheer work ethic of this cast. They are working their absolute socks off under lacklustre direction and choreography, and they deserve so much credit for that. Lewis Kidd, making his West End debut as Renton, is an absolute star in the making. He brings an immense, magnetic energy to the stage. Frankie O'Connor’s Begbie is suitably terrifying, Sheridan Townsley captures Sick Boy's swagger perfectly, and it is always a pure joy to see the wonderful Rebecca McKinnis on stage. The performances aren't the problem here; it's the material they've been given to work with. No matter how talented the cast are, they still cannot elevate the show anywhere above abysmal.

The constructive truth is that TRAINSPOTTING is a story rooted in visceral, uncomfortable reality. It thrives in intimate, sweaty, fringe environments - much like the brilliant immersive straight-play adaptations we've seen over the years. Trying to squeeze that raw anger and tragedy into a conventional two-hour musical structure just dilutes everything that makes it special. It strips away the teeth of the story, leaving us with a production that feels strangely hollow.

It's hard to believe how this show made it to a major stage in this state, and as devastating as it must be for everyone involved, I cannot say I'm surprised that the upcoming UK tour has been cancelled. This could genuinely be the worst show I've ever seen on a West End stage in the 35+ years I've been watching theatre. It is a brave attempt, and I have nothing but respect for the cast pouring their hearts into it every night. But as a cohesive piece of musical theatre, it just doesn’t find its tracks.

TRAINSPOTTING is an insult to the original film. A screen to stage adaptation that didn't need making, and is frankly an embarrassment.

Neill Kovacic-Clarke

All views are my own and I pride myself on being honest, fair, and free from influence. Theatre is subjective and it is important to remember that all views expressed are just those of one reviewer.  

My ticket for this performance of Trainspotting was purchased via SeatPlan.

CAST:

Lewis Kidd as Renton; Sheridan Townsley as Sick Boy; Kieran Andrew as Spud; Frankie O'Connor as Franco Begbie; Finlay Paul as Tommy; Rebecca McKinnis as Cathy Renton; Gordon Cooper as Davie Renton; Ashley J. Russell as Colleen; Rosie Dignan as Alison; Yana Harris as Kelly; Sophie Hutchinson as Lizzie; Ally Kennard as Swanney; Kieran Brown as Twiggy; Melanie Marshall as The Call of Heroin; Samuel Stewart as Andy; Finlay McKillop as Stevie; Ciara Ennis as Gail; Victoria Nicol as June; Kyra Fyvie as Hazel; Chris O'Mara as Mike

RUNNING TIME (approx):

2 hours 20 minutes, with no interval

CONTENT WARNINGS:

Depictions of intravenous drug use, addiction, overdose, and withdrawal; Physical violence, domestic abuse, and aggressive behaviour; Constant use of strong, explicit language and profanity; Scenes containing adult themes, explicit references, and sexual situations; Depictions of sudden illness, child neglect, and death

AGE RECOMMENDATION:

15+

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