“Originals are always better than sequels”, unfortunately proven in this case, submerged within the shadows of the dizzying heights of its predecessor, Porno proves a bit of an anti-climax, despite its titillating title.
Trainspotting, the 1993 debut novel written by Irvine Welsh, will provoke a range of reactions, especially for those of us who remember its cinematic debut back in 1996. Danny Boyle’s film successfully replicated the sensational, gutsy rawness of its live show. It showcased the intricacies of Welsh’s writing, in its innovative cinematography, iconic opening sequence (which could never be replicated today due to health & safety), and recognisable soundtrack. Trainspotting has firmly positioned itself as culturally significant, even described as a masterpiece. Its ‘Choose Life’ rhetoric encapsulates the disenfranchised at that time, caught between a post Thatcher era, and the impending loom of a new millennium.
A tough act to follow then with Welsh’s follow up 2002 offering, ‘Porno’, which takes us back to Leith 10 years later, where we’re reunited with the principle characters, Renton, Sickboy, Spud, and Begbie. Adapted for stage and produced by Davie Carswell as a one act play, (with a seal of approval from Welsh), Porno received rave reviews at its sell out premiere at the 2022 Edinburgh Fringe. Now extended to a full-length play, Carswell is bringing Porno to the North West, prior to its West End run.
The action mainly takes place in the Port Sunshine, a pub inherited by Sickboy (James McAnerney), who is scamming more than ever, along with a healthy cocaine habit. The return of Renton (Scott Kyle) stirs up a range of emotions following his swift exit to Amsterdam, having left a path of betrayal, his return to the small town of Leith is met with a varied welcome, especially from Begbie (Chris Gavin) and Spud (Kevin Murphy). We’re also introduced to aspiring actress Lizzie (Jasmine Main) and her dad, ex copper, Knox (Jim Brown).
The early 90s saw the emergence of the ‘In-yer-face’ theatre sub-genre, not for the faint-hearted, tackling taboo themes, performed in a confrontational, unapologetic and often provocative manner, made to be an uncomfortable viewing experience. Scottish writing was integral to its birth, and Harry Gibson’s original stage adaptation of Trainspotting, became a firm staple, difficult to ignore. Its non-linear, stream of consciousness tells of life at the end of a needle, tales of violence, sex, nudity, drug use, and the showers of ‘excrement’ comedically projectile vomited out of the ‘worst toilet in Scotland’, is performed on stage with an air of intimidation, played out, quite literally, in the lap of its audience, feeding off their nervous energy and anticipation.
Carswell’s production, set 15 years after Trainspotting, closely follows the structure of Welsh’s 2002 novel, a series of narrations from characters interspersed with some scenic action. The cast deliver energetic performances through the broken fourth wall, which is somewhat impacted by the scale of the venue. A more intimate setting would allow for a more immersive experience for the audience, and actors, into the lives of these lost, damaged souls, complimenting the heavily narrative structure.
Director Jonty Cameron does well to incorporate the many different scene changes which do start to become repetitive in nature. The screen at the back of the stage could have been utilised more to inject some multimedia to aid some dynamic transitions, this potential was hinted at during the opening of the play, but from then on instead was used to show a series of stills depicting the location of the characters. Bringing some movement to these backdrops would lessen the static feel and improve the flow of the play.
The authenticity and beauty of Welsh’s writing is at times wonderfully captured, in how he threads through Scots and standard English, however, unfortunately for Begbie and Spud a lot of the narrative was lost due to the strength and pace of their accents, which could lend to some watering down to potentially avoid alienating some of its southern audiences and losing the funny, shocking elements of the writing.
Sadly, due to the aforementioned issues, the production fell a little flat. Boyle’s decision to only loosely base the 2017 follow up T2 on Porno was perhaps purposeful in how the novel doesn’t quite transpire that well to stage and screen in its own right and needs some extra substance to bring it. However, there is no doubt, that diehard fans of Irvine Welsh will no doubt love the show.
Tickets for the remaining UK tour can be purchased here; https://www.ents24.com/uk/tour-dates/irvine-welshs-porno
The production contains swearing, language of a sexual nature, shagging, drug use, violence and even more swearing.
Reviewer: Gill Lewis
Reviewed: 5th October 2023
North West End UK Rating: