Theatre Review - Edinburgh Fringe Trainspotting — In Your Face Theatre Productions Pleasance Theatre Edinburgh

I begin with the original Trainspotting film, released in 1996, whose influence on cultural identity and representation of destructive behaviour remains unmistakable nearly three decades later. I’d not watched the film for 25 years but Ren’s opening monologue was still there echoing in my mind .” Choose life…”

Far more than a simple adaptation of Irvine Welsh’s novel, it became a defining moment in British cinema, capturing the chaos, humour, and bleak yet hopelessness of 1990s youth culture for the disadvantaged. Its unapologetic portrayal of heroin addiction, urban alienation, and the search for meaning resonated deeply — both as a celebration of subcultural rebellion and as a stark warning about its cost. This cultural legacy forms the backdrop for the stage production I saw at the Edinburgh Fringe, where those same themes are not only revisited but physically embodied in the space between performer and audience. This production was jaw dropping and belly punching in equal measures.

In Your Face Theatre Productions deliver a fearless staging that retains the grit, energy, and raw humanity of the original text while pushing the boundaries of audience engagement sometimes far beyond the level of what most would consider comfortable.

Though the story is firmly set in Scotland, this production brings it into the present moment with striking immediacy. Audience members are greeted at the door by ushers, issued wristbands, and ushered into the throbbing energy of a rave. The cast roam the space, singling out individuals for bursts of interaction and guiding them to different corners of the venue. It feels chaotic yet precise, with an authenticity that draws people into spontaneous and non negotiable interaction . The atmosphere is electric, though not for the shy; if you prefer to remain unseen, this is not your show. The toilet is there mid audience to be used and abused. Ren’s soiling scene in a girlfriend’s bed was vile and yet almost pantomime as he hurled the sodden sheets around the audience and showered and dried off his excrement covered body mid audience.

The company’s use of promenade theatre erases the traditional line between performer and spectator. The pulsing soundtrack, rhythmic lighting, and relentless physicality create a hypnotic atmosphere, priming the audience before the main narrative takes hold. The compact, adaptable set becomes both playground and battleground, immersing the crowd in the characters’ fractured, intoxicating world of squats and pool hall and bars and DSS room . It’s a dark, swampy trench as a metaphor for the characters entrapment in a life they cannot quite clamber out of.

From its pounding opening to its unflinching close, Trainspotting doesn’t just tell a story — it engulfs you in it. A bold, visceral piece of theatre that leaves an aftertaste of adrenaline and unease long after the lights go down.

We were shocked and mesmerised. The cast are stellar many having occupied the roles in previous productions and the fluidity of character interchangeability a credit to their acting prowess. In the lead role, Andrew Barrett as Mark Renton ( The McGregor part) voice and protagonist was magnetic . The cast we saw were : Alice Glass, Craig McDougall, Olivier Sublet and Conrad Williamson were stellar .

This is a theatrical experience that will leave you reeling, feeling uncomfortable and unsettled and reflecting on it afterwards a profound testimony to quality theatre .

Reviewer - Kathryn Gorton 

Reviewed on 12th August 2025