Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
It is obvious that many people shared my enthusiasm and curiosity at how harrowing Harry Gibson's stage version of Irvine Welsh's novel could really be, as the audience crowded around the entrance to the Drama Barn. Cheryl Gallacher attempted to organise the crowds but it was no use, people were desperate to see this play; their desire fueled, no doubt, by the cult 1996 film version directed by Danny Boyle. Finally I managed to fight my way in and find a seat in the circular setting selected by the production team.
The play is fast, furious and funny; highly offensive and crucially relevant; it is lewd and it is crude and it is powerfully electric.
The play, as it’s facebook event describes, “follows the lives of Mark, Tommy, Franco and Alison on a fierce, drug-fuelled ride through Edinburgh‘s festering underbelly. Finding ourselves deep in the heart of the city - a world riddled with drug addiction, death and dizzying highs, we are immersed into their spirals of self destruction.” It is hard to believe that a play based around such destruction could be so stunning.
The direction, by Alex Wright and Simon Meader, was insightful and sensitive to the complexities of drug addiction, allowing the audience to simultaneously despair and sympathise with the characters. I also guarantee my sincerity when I refer to the set design as genius. Over the course of the play a single tyre suspended from the roof represented a bed, urinal, toilet, grave, restaurant table, and, possibly most stunning of all, a heart. The lighting design complemented the simplicity of the set perfectly with some of the scenes lit purely by the same candle used by the characters for preparing drugs.
The play challenged the audience’s senses relentlessly, warping the way we view common items. A pitch-black stage dominated by the swirling movements of three glowing cigarettes succeeded in communicating the surreal effects of ecstasy, a challenge that could scare even the most experienced of directors.
The oppressive nature of the Drama Barn suited the production perfectly, and complemented some superb performances from the cast. The intimacy of the ruthlessly close proximity to the action forced the audience to fully engage with the characters, hanging on every word of their on-the-whole convincing Scottish accents. Creating the backbone of the cast, it has to be said, was a breathtaking performance from Alex Forsyth, which was truly captivating from start to finish. It was also extremely fulfilling to see Will Seward tackle a more sinister role, something that he mastered completely. Lucy Whitby was equal to her counterparts and displayed great control over the difficult comedy of the play. It was my first encounter of Lucy as an actress and I look forward to many more future performances. The final member of the four strong cast was Drama Barn regular Andy Birnie who did not disappoint. Andy was evidently relishing the discomfort felt by the audience as he injected heroin into his penis, a feeling only intensified by his relentless trademark stare.
It would be easy to continue listing the strengths of the production but the best way to understand them is obviously to see it yourself. But don't worry if you don't make it to the Barn because “Trainspotting” is heading to the fringe. Lauren Clancy in her debut producing role has certainly managed to oversee a superb production and I wish it well in what will surely be a successful run over the summer.
“Trainspotting” is running until Sunday 9th June at York University Drama Barn. It will then transfer to the Edinburgh Fringe Festival 2007 from 1st-27th August. Tickets available through Drama Soc or The Edinburgh Fringe Ticket Office.
