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Trainspotting
by Harry Gibson, from the novel by Irvine Welsh

Dates November 6, 7, 8 and 9 2002 @ 7.45pm Tickets: £7 (£5 concs)
Venue: Putney Arts Theatre, Ravenna Road, Putney, London SW15 6AW
Bookings:

CAST

Mark Renton - Callum O'Neill
Tommy Murphy - Jamie Roberts
Francis Begbie - Duncan Pow
Alison - Rachel Branton
Simon "Sick Boy" Williamson - Alexander Clarkson
Johnny Swan - Steve Manners
Lizzie - Hannah Barnes
June - Debby Fisher
Mother - Christine Morris
Lassie - Carolina Marin
Drunk / Boy - Phil Matcham

CREW

Directed by Claire Simpson
Produced by Michael Hubbard
Stage Managed by Tammy Mitchell

Assistant Stage Manager: Andrea Giacobbe
Set Design: Harriet Russell, Claire Simpson
Sound and Lighting Design by: Claire Simpson

Lighting: Jane Hammond, Sally McElhayer
Sound: Sally McElhayer

Props, Furniture and Costumes: members of the company
Artwork: Harriet Russell

Front of House:
Rosie Bardzil, Judith Bardzil, Carmen Betteridge, Harriet Russell, Pete Picton, Jacquetta Picton, Melissa Ormiston, Rob Badman, Andy Hamilton.

With thanks to:
Marie Darker, Martin Jessop, Linda @ Time Out, Denise Bailey, Ann Carroll, Janine Israel.

PRODUCTION NOTES

Photo Gallery >

WEST END GETS A SMACK IN THE FACE was The Times' headline when the play Trainspotting made its London début.

Arguably the most graphically extreme format of Irvine Welsh's novel, the stage play, adapted by Harry Gibson, pulls no punches in its depiction of heroin addiction.

Chief protagonist Mark Renton and his friends fully expose their world of violence, sex and drugs, telling their stories in their own language, with a degree of the cynicism that is inevitably attached to a disenfranchised sector of society.

The play dishes out a large portion of humour and hedonism but doesn’t gloss over or glamourise its darker issues such as domestic violence, cot death and AIDS.

These issues are not presented with any moral judgment but as incidentals to the reality of the characters' lives. No attempt made to resolve these in an over-simplified soap-opera style.

Instead one is left with the harsh sense that Alison may never get over losing her baby, Tommy won't see a happy ending, the psychopathic Begbie is unlikely to reform and Mark will always be searching for life's answers.

As Begbie would say: "Real life, uh?"

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