Tag Archives: Adam Spreadbury-Maher

Trainspotting Live – 5 Stars

Trainspotting

Trainspotting Live

The Vaults

Reviewed – 29th March 2018

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“audience members are climbed over, shouted at and showered with the contents of β€˜The Worst Toilet in Scotland’”

 

Opiate abuse has crept back onto the media agenda of late as drug overdoses claim to be the leading cause of death for Americans under fifty. Overdoses from Fentanyl, a prescription painkiller, have soared over the last five years, with some areas being so badly affected it’s been called an epidemic. A similar social environment of high unemployment and easily accessible opiates were present in Edinburgh thirty years ago, most frankly portrayed in Irvine Welsh’s breakout novel Trainspotting.

Originally adapted for the stage by Harry Gibson only a year after the publication of the novel, Trainspotting Live actually predates the much loved Danny Boyle film. All the most infamous scenes are here in this immersive production by In Your Face Theatre, but presented using the multiple narrative style of the book, rather than a necessarily linear plot, to open a window to the drug addicted, despairing youth of 1980s Edinburgh.

A glowstick gains you entry to the appropriately atmospheric venue under the arches of Waterloo train station where Sick Boy, Begbie, Renton and the rest of the cast are dancing to rave classics and engaging with the audience. This is only the beginning, as audience members are climbed over, shouted at and showered with the contents of β€˜The Worst Toilet in Scotland’ all to raucous laughter. It’s shocking stuff. But as with Welsh’s original book and the film, it’s meant to make you squirm. As the hilarity slowly gives way to degeneracy, the sense of loneliness and isolation is stark and it can be seen as both the cause and effect of the bleak circumstances the characters face.

The seven strong cast is made up of veterans having honed their roles since 2013 and some more recent additions; the stand out of which is Frankie O’Connor as the charmingly disaffected Renton. It’s an intense production, requiring the highest energy levels and stamina from the cast who are all utterly absorbing to watch.

Whilst this is a completely immersive production and best enjoyed as such, you can watch without fear of full frontal nudity directly in your face if you opt for allocated seating, although this privilege does come at a premium to the general admission seats.

Sure, nudity and audience participation are easy ways to get a laugh, but it’s the shock factor that really drives home the lengths to which addiction can drive a person. Trainspotting Live was one of the most exciting and engaging pieces of theatre I have seen this year so far. A spectacle not to be missed.

 

Reviewed by Amber Woodward

Photography by Geraint Lewis

 


Trainspotting Live

The Vaults until 3rd June

 

 

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Review of La BohΓ¨me – 4 Stars

Bohème

La Bohème

Trafalgar Studios

Reviewed – 11th December 2017

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“A clever, amusing libretto and interactive staging engage the audience from the start”

 

It is an interesting idea to transport 1830s bohemian Paris to present day life-on-the-breadline in Dalston. Adam Spreadbury-Maher and Becca Marriott’s updated take on Puccini’s classic opera, which has transferred from the King’s Head Theatre, shows the timelessness of love and emotions against a background of poverty and desperation.

Bohème

A tale of the joys and sorrows of dependent relationships, it also maintains the artist’s fight for creative recognition. It cuts away the chorus, the orchestra and the traditional grandeur of an opera house, leaving only the four main characters and two musicians from the original opera in the small space of Trafalgar Studio 2. A clever, amusing libretto and interactive staging engage the audience from the start. However, while the close proximity to the singers is an intense experience, the opera’s rapid changes of moods and emotions – drama, wit, happiness, tragedy – can be oddly melodramatic. As a contemporary touch, replacing tuberculosis with drug addiction is very effective.

All four talented singers hold the stage with confidence. Thomas Isherwood as Mark has a powerful yet polished sonority as he sings of his despair for the love of the fickle Musetta. She is played by a strikingly seductive Honey Rouhani who sings with appropriate gusto (beware, front row, if you are not partial to audience participation). Becca Marriott gives a strong interpretation of Mimi, though the vitality of her voice is perhaps better suited to the fragility of her character in the second half, and she occasionally overpowers Roger Paterson (Ralph) in the duets. Vocally not as operatic but beautifully natural, he has less resonance in the upper register which, arguably, suits the intimacy of the studio. Panaretos Kyriatzidis (Musical Director) is an excellent substitute for a large-scale orchestra but William Rudge on cello, as the only other instrumentalist, lacks focus to his sound, and passion in dramatic moments, allowing the musical tension to disappear.

The simplicity of the set design (Becky-Dee Trevenen) and dimly glowing lighting (Nic Farman) portray the familiarity of the setting yet create a scene reminiscent of larger productions. Adam Spreadbury-Maher’s direction skilfully incorporates the audience into the action by making use of the whole studio, though in intense passages of quartet singing the positions of the singers can distort the harmonic balance.

La Boheme is the type of innovative production the Trafalgar Studios promotes. It is an absorbing performance that captures the essence of the grand opera style in its own miniature genre.

 

Reviewed by Joanna HetheringtonΒ 

Photography by Scott Rylander

 

 

 

La Bohème

is at Trafalgar Studios until 6th January 2018

 

 

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