Trainspotting (2010) - Revision history

Thanco: /* Katwoman */

2011-05-20T08:57:36Z

‎Katwoman

Neil Carmichael: added Category:Nudity

2010-11-26T11:58:13Z

added Category:Nudity

Neil Carmichael at 11:14, 22 November 2010

2010-11-22T11:14:59Z

Neil Carmichael: /* Paul Campion Sardines magazine */

2010-11-22T11:12:39Z

‎Paul Campion Sardines magazine

Neil Carmichael: /* Paul Campion */

2010-11-22T11:10:58Z

‎Paul Campion

Neil Carmichael: /* Paul Campion */

2010-11-21T11:26:51Z

‎Paul Campion

Neil Carmichael at 11:24, 21 November 2010

2010-11-21T11:24:45Z

Neil Carmichael: /* Donna Marie */

2010-11-21T11:19:43Z

‎Donna Marie

Neil Carmichael: /* [[M] */

2010-11-19T12:16:05Z

‎[[M]

Neil Carmichael: /* Reviews */

2010-11-19T12:15:51Z

‎Reviews

@@ Line 56: / Line 56: @@
 Which is something you need when faced with a bunch of pretty unsympathetic Edinburgh junkies drowning in squalor and a fair bit of self pity - though leavened throughout with humour (Helen's Moira Stewart impression on the TV …).
-There are excellent performances from Tom Hancock as the lynchpin, Renton, a cast against type [[Steve Imrie]] as the profane psycho, Begbie and newcomers to SLT, [[Karl Gibbons]] and [[Holly McFarlane]] - both of whom were brave and completely undaunted by the demands of their parts.
+There are excellent performances from [[Tom Hancock]] as the lynchpin, Renton, a cast against type [[Steve Imrie]] as the profane psycho, Begbie and newcomers to SLT, [[Karl Gibbons]] and [[Holly McFarlane]] - both of whom were brave and completely undaunted by the demands of their parts.
 I hope that a larger audience is able to see and feel what our smallish one (25-30 people) did) - and suspect that those sitting down may have missed a fair bit of the action. Perhaps a little more audibility - and more use of the rostra ranged around the walls - would have made the action more accessible. And I was unconvinced that the miming 'helpers' added much to the story - it felt a bit tacked on.

← Older revision		Revision as of 11:58, 26 November 2010
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	[[Category:Prompt Corner Productions]]		[[Category:Prompt Corner Productions]]
	[[Category:Reviewed by the media]]		[[Category:Reviewed by the media]]
		+	[[Category:Nudity]]

← Older revision		Revision as of 11:14, 22 November 2010
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	[[Category:Promenade Productions]]		[[Category:Promenade Productions]]
	[[Category:Prompt Corner Productions]]		[[Category:Prompt Corner Productions]]
		+	[[Category:Reviewed by the media]]

@@ Line 152: / Line 152: @@
 ===[[Paul Campion]] Sardines magazine===
-Trainspotting
+*Trainspotting
 <ref>http://www.sardinesmagazine.co.uk/reviews/review_content106.php</ref>
-by Irvine Welsh
+*by Irvine Welsh
-society: South London Theatre
+*society: South London Theatre
-performance: 16 Nov 2010 | Prompt Corner, South London Theatre, West Norwood
+*performance: 16 Nov 2010 | Prompt Corner, South London Theatre, West Norwood
-reviewed by: Paul Campion
+*reviewed by: Paul Campion
 In 1993, Irvine Welsh’s tale of Scottish low-lifes and heroin addicts gave British cinema an almighty kick up the backside. It was dangerous, yet exhilarating – rather like heroin itself. Could SLT’s theatrical adaptation have the same impact?

@@ Line 151: / Line 151: @@
-===[[Paul Campion]]===
+===[[Paul Campion]] Sardines magazine===
 Trainspotting
+<ref>http://www.sardinesmagazine.co.uk/reviews/review_content106.php</ref>
 by Irvine Welsh
 society: South London Theatre

@@ Line 153: / Line 153: @@
 ===[[Paul Campion]]===
 Trainspotting
 by Irvine Welsh
 society: South London Theatre
 performance: 16 Nov 2010 | Prompt Corner, South London Theatre, West Norwood
 reviewed by: Paul Campion
 In 1993, Irvine Welsh’s tale of Scottish low-lifes and heroin addicts gave British cinema an almighty kick up the backside. It was dangerous, yet exhilarating – rather like heroin itself. Could SLT’s theatrical adaptation have the same impact?
 The evening didn’t start well. We arrived on a bitterly cold night to find the building in the grip of a power cut. To make matters worse, when power was restored we trooped into a chilly auditorium with nowhere to sit apart from a handful of seats. Things didn’t look too promising. How wrong we were.
 Advance publicity billed this show as a ‘promenade’ performance; a rather polite term for a remarkable piece of theatre that thrust the audience headfirst into the squalid world of the junkie.
 The acting didn’t take place on a stage, it happened all around the audience as we stood in the space. The cast - including a team of extras who doubled as mime artists - mingled and moved freely among us, even barging past if we were in the way. The set - which occupied the entire space - surrounded us with smashed-up TV screens, discarded beer cans, filthy mattresses and walls splattered with blood (or worse) making it feel as if we had somehow strayed into a council estate drug den.
 The effect was to make the audience nervous, unsettled and totally involved - a brave approach which in lesser hands might have backfired. But thanks to Peter Stevens’ expert direction and his superb cast, it all seemed thrillingly – and often frighteningly – real.
 As ‘Begbie’ Steven Imrie was every inch the intimidating and violent psychopath, right down to the tattoo on his neck. If we’d had a street to cross to avoid him, we would have. Holly McFarlane’s ‘Alison’ went from drug-addled desperation to sassy swagger and showed expert comic timing in her improvised asides to the audience. As ‘Tommy’ Karl Gibbons put in a moving performance and also had the unenviable task of appearing stark naked – no mean feat on a winter’s night in Norwood! And then there was Alan Brown’s short but effective portrayal of a drunken down-and-out. I swear I could smell him.
 With such quality on display it seems unfair to single anyone out, but special mention must go to Tom Hancock’s ‘Renton’ who had us at once laughing and wincing at his tales of scatological bedroom ‘accidents’ and the difficulties of retrieving anal suppositories from the depths of a blocked public lavatory. All delivered – like the rest of the cast - in a perfect Leith accent.
 Full marks too for the beautifully-timed (and specially-shot) sound and video sequences which lulled us into a drug-like stupor, only to jolt us brutally back to reality.
 So thank you, SLT for one of the most memorable evenings I have ever spent in a theatre. You may have had a power cut, but this show was positively electric
 == Gallery ==

← Older revision		Revision as of 11:24, 21 November 2010
Line 135:		Line 135:

	*as Renton's Mum, that is :)		*as Renton's Mum, that is :)
		+
		+	===[[Roo]]===
		+	Wow, I've seen some good stuff at SLT this year, but this just takes all the prizes. A truly innovative production, that sets a new benchmark for Prompt, a thoroughly warm hand-shake to all involved but especially to Peter who had the vision (and quite frankly, the disallowed word) to see it through.
		+
		+	===[[Jess84]]===
		+	absolutely brilliant - congratulations to all involved for their commitment and hard work - well worth it
		+
		+
		+	===[[Christine]]===
		+
		+
		+	Congrats to all, Peter you must feel very proud.
		+
		+	No shooting up at the last night party, peeps!
		+
		+
		+	===[[Paul Campion]]===
		+	Trainspotting
		+
		+
		+
		+
		+
		+
		+	by Irvine Welsh
		+
		+
		+
		+
		+
		+	society: South London Theatre
		+
		+
		+
		+
		+
		+	performance: 16 Nov 2010 \| Prompt Corner, South London Theatre, West Norwood
		+
		+
		+
		+
		+
		+	reviewed by: Paul Campion
		+
		+
		+
		+
		+
		+
		+
		+	In 1993, Irvine Welsh’s tale of Scottish low-lifes and heroin addicts gave British cinema an almighty kick up the backside. It was dangerous, yet exhilarating – rather like heroin itself. Could SLT’s theatrical adaptation have the same impact?
		+
		+
		+
		+
		+
		+	The evening didn’t start well. We arrived on a bitterly cold night to find the building in the grip of a power cut. To make matters worse, when power was restored we trooped into a chilly auditorium with nowhere to sit apart from a handful of seats. Things didn’t look too promising. How wrong we were.
		+
		+
		+
		+
		+
		+	Advance publicity billed this show as a ‘promenade’ performance; a rather polite term for a remarkable piece of theatre that thrust the audience headfirst into the squalid world of the junkie.
		+
		+
		+
		+
		+
		+	The acting didn’t take place on a stage, it happened all around the audience as we stood in the space. The cast - including a team of extras who doubled as mime artists - mingled and moved freely among us, even barging past if we were in the way. The set - which occupied the entire space - surrounded us with smashed-up TV screens, discarded beer cans, filthy mattresses and walls splattered with blood (or worse) making it feel as if we had somehow strayed into a council estate drug den.
		+
		+
		+
		+
		+
		+	The effect was to make the audience nervous, unsettled and totally involved - a brave approach which in lesser hands might have backfired. But thanks to Peter Stevens’ expert direction and his superb cast, it all seemed thrillingly – and often frighteningly – real.
		+
		+
		+
		+
		+	As ‘Begbie’ Steven Imrie was every inch the intimidating and violent psychopath, right down to the tattoo on his neck. If we’d had a street to cross to avoid him, we would have. Holly McFarlane’s ‘Alison’ went from drug-addled desperation to sassy swagger and showed expert comic timing in her improvised asides to the audience. As ‘Tommy’ Karl Gibbons put in a moving performance and also had the unenviable task of appearing stark naked – no mean feat on a winter’s night in Norwood! And then there was Alan Brown’s short but effective portrayal of a drunken down-and-out. I swear I could smell him.
		+
		+
		+
		+
		+
		+	With such quality on display it seems unfair to single anyone out, but special mention must go to Tom Hancock’s ‘Renton’ who had us at once laughing and wincing at his tales of scatological bedroom ‘accidents’ and the difficulties of retrieving anal suppositories from the depths of a blocked public lavatory. All delivered – like the rest of the cast - in a perfect Leith accent.
		+
		+
		+
		+
		+	Full marks too for the beautifully-timed (and specially-shot) sound and video sequences which lulled us into a drug-like stupor, only to jolt us brutally back to reality.
		+
		+
		+
		+
		+	So thank you, SLT for one of the most memorable evenings I have ever spent in a theatre. You may have had a power cut, but this show was positively electric
		+
		+

	== Gallery ==		== Gallery ==

@@ Line 110: / Line 110: @@
 Everyone involved should feel very proud, loved the design of the sound/monitors/music and lighting and all the cast do an amazing job with their characters (and accents!), really drawing you in to a stark piece of uncomfortable at times action- well done all for a piece that will stay with me for a very long time x
 ===[[M]]===
 Writing this in a hurry so apologies if it's a bit jumbled.

@@ Line 110: / Line 110: @@
 Everyone involved should feel very proud, loved the design of the sound/monitors/music and lighting and all the cast do an amazing job with their characters (and accents!), really drawing you in to a stark piece of uncomfortable at times action- well done all for a piece that will stay with me for a very long time x
-===[[M]===
+===[[M]]===
 Writing this in a hurry so apologies if it's a bit jumbled.
@@ Line 123: / Line 123: @@
 I loved the voyeuristic feeling that we got from the promenade performance as the characters weaved, danced, ran, sobbed and, of course, shot up with heroin around us. I also really liked the way the pace rocketed along on a total buzz then crashed back down to earth mixed in with a bit of quiet contemplation and self realisation - I suppose reflecting coming up on a high then hitting the floor (sorry if I'm being a bit too wanky and interpretive there!). Great use of sound and video too.
 ===[[Stevie]]===
 One of the most imaginative productions I've seen at SLT. Because the play is so episodic and does not really have a narrative structure, I thought setting the scenes in different parts of the auditorium really added to the reckless, anarchic nature of the piece. Peters cast acted with absolute conviction as they veered from the most harrowing tragedy to pitch black humour; Tom Hancock's solo piece about the death and funeral of his brother was a real tour de force. The accents were convincing and consistent (if a bit too fast for me at times) and, in the absence of naturalistic scenery, the video monitors, sound design and primitive lighting evoked the necessary atmosphere of urban decay and desperation (as did the bloody freezing cold - was that deliberate!?). That we had to stand up for two hours didn't bother me as the show was so engrossing. They must have all worked really hard.

@@ Line 90: / Line 90: @@
 ===[[Induja]]===
 This is one of the best productions I have seen at SLT. The performances are slick,strong and very brave - congratulations especially to Tom Hancock- Prompt space used ingeniously, fab set, sound and lighting. Promenade format works well, adds to atmosphere, no problem with visibility (little people just move forward!) You know the play is harsh and this production will have you chewing your nails! Really well done Peter and whole cast.
 == Gallery ==