★★★★

“a mad scientist lair with an unexpectedly polished West End finish”

As someone who grew up watching Brainiac on TV, I was curious to see how this explosive, cheeky science show would translate to the stage. But ‘Brainiac Live’ doesn’t disappoint – bursting with fun, physics and literal fire, it’s a great family show that keeps kids enthralled from start to finish.

Walking in, you’re met with a gleefully chaotic array of equipment – from radioactive barrels and hazard tape, to hot water bottles and deck chairs – a clear sign you’re in for a wild ride! Through a slick blend of experiments, videos and high energy performance, this snappy show keeps you on your toes and teaches you something too.

With original creative contributions by Ben Keaton and writing by Andy Joyce, the show is surprisingly funny and slick. The energy is kept high with rapid fire dialogue and ample audience interaction – the screaming, cheering and booing hardly needs encouragement. Though aimed at kids, the adults in the audience aren’t forgotten with jokes and references for them too. The comedy is largely physical, though the misheard lyrics section is delightfully silly and fun. The experiments are genuinely impressive and entertaining, even if they lean on big bangs which upsets a couple of kids – but explosive science is part of the Brainiac bargain!

Joyce’s direction keeps the energy high and the pacing snappy, each Brainiac high kicking onto the stage, and whipping the crowd into claps, cheers and competitions. The experiments are engaging – if sometimes loud – while punchy video segments mean you barely notice ’Brainiac Dave’ (i.e. Stage Management) expertly resetting the stage. Moments of unexpected silliness – such as the ‘Single Ladies’ bit complete with smoke and leotards – establish this as entertainment first and science demo second, though they blend seamlessly. A great example of making science fun!

Jack Andrews’ Brainiac Ned (a role shared with Joyce) keeps things zipping along expertly, with big, bouncy energy for the kids plus sharp comic timing for the adults. Andrews keeps the audience hooked throughout. Rik Warren gives Brainiac Ed a stoic but silly charm, opening with the strong, silent treatment before busting out some hilarious moves. Tracy Rahi’s Brainiac Raz completes the trio with real gusto. A cameo from Madison Grace sets the edgy tone early, and dramatic voiceovers from Odinn Orn Hilmarsson keep things moving.

Hilmarsson’s video editing, paired with GDL’s artwork, design and animations, give the video segments a really polished feel, boosting both the educational and entertainment value without ever feeling like filler. Additional design by Damien Stanton and Charlotte Paveley, including hazardous waste debris, playful lighting and slick sound design, builds a mad scientist lair with an unexpectedly polished West End finish.

Catch ‘Brainiac Live’ this summer – it’s big fun and bigger bangs, a perfect pick for kids who don’t mind a bit of noise.

TRAINSPOTTING THE MUSICAL

Theatre Royal Haymarket

★

“It may be a perfect day for Renton, but sadly, not for us”

There is always controversy, and also a certain predictability, when the counterculture becomes mainstream. The classic example of this is punk rock’s aggressive rejection of the music industry and society in the 1970s, which eventually turned into a conventional consumer commodity. No longer a threat, but accepted everyday life. There is sometimes irony in this, particularly when the original meaning is lost on its new audience. Lou Reed’s song ‘Perfect Day’ was incongruously picked up as the anthemic Children in Need charity single back in 1997. Did nobody examine the lyrics? As a love letter to heroin, however, it was an ideal choice for Danny Boyle’s film adaptation of Irvine Welsh’s gritty novel about Edinburgh heroin addicts. Already a massive cultural landmark of the nineties, the film revitalised modern British cinema.

One would hope that the musical treatment would have the same effect on London’s West End. Especially with Welsh himself at the helm, adapting his own novel and co-writing the original music and lyrics (with Stephen McGuinness) that sit alongside snippets of the iconic soundtrack from the film. It could be a triumph. And indeed, it is. A triumph of ambition over direction. The result is a senseless concoction of ideas that make a kindergarten brainstorming session look like rocket science. Practically every theatrical choice has no thought behind it.

Hats off to the cast, though, who dive headlong into their roles with the determination of an addict after their next fix. The commitment cannot be faulted, despite the occasional hesitation that betrays an unease with the material they have been handed. There is a moment when Spud (Kieran Andrew) questions why his fellow druggies keep bursting into song, echoing the audience’s bafflement. A moment of lucidity in the writing, perhaps, yet the self-referential humour is unsustained, leaving the potential for full-on parody unrealised.

Welsh’s novel, the subsequent stage adaptation and Boyle’s film follows the five principal characters in a stream-of-consciousness style. Its nonlinear plot allows differing perspectives that lead to a three-dimensional overview of these desperate characters. Director Caroline Jay Ranger’s staging flattens them in what is essentially a series of vignettes and songs plucked from a goody bag without rhyme or reason, leaving the actors to muddle through a mire of disjointed nonsense. Frankie O’Connor has muscle as the sociopathic Begbie but lacks the requisite menace. In short, we fail to believe. The harrowing moment when Rosie Dignan’s Alison loses her baby while she injects herself with heroin is obscured in clunky blocking and distraction – we are too busy wondering if this is a cue for another ill-fitting musical number.

Lewis Kidd, as Renton, has the charisma to bear the bulk of the narration, but we are told too much rather than being allowed to watch and make up our own minds. Renton’s parents (Rebecca McKinnis and Gordon Cooper) make an appearance in this musical version as expositional add-ons. Like the whole cast they have fine singing voices, but put to bewildering use. There are glimpses, however, for example the gospel-tinged reprise of Iggy Pop’s ‘Lust for Life’ which shows off the company’s rousing ensemble harmonies. Harmonies that simply don’t belong here, however, in much the same way that this story doesn’t belong in the plush surroundings of the Theatre Royal Haymarket. It is homogenised beyond recognition. Gone is all sense of subversion. Take away the expletives and we could be in a suburban school hall.

The run up to opening night was peppered with the question of why Welsh’s novel should be a musical. But then again, anything can be nowadays. On a positive note, “Trainspotting the Musical” defeats that argument. This dubious sense of optimism is reflected in the closing moments of the show, during which Renton shafts his so-called mates, steals their money and gleefully scarpers. A bit of a misguided message, especially when accompanied by a stirring chorus of ‘Perfect Day’. It may be a perfect day for Renton, but sadly, not for us.

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BRAINIAC LIVE

★★★★

Garrick Theatre

BRAINIAC LIVE

Garrick Theatre

★★★★

“a mad scientist lair with an unexpectedly polished West End finish”

BRAINIAC LIVE

Garrick Theatre

Reviewed on 28th July 2026

by Hannah Bothelton

Photography by Mark Douet

BRAINIAC

BRAINIAC

BRAINIAC

TRAINSPOTTING THE MUSICAL

★

UK Tour

TRAINSPOTTING THE MUSICAL

Theatre Royal Haymarket

★

“It may be a perfect day for Renton, but sadly, not for us”