Prior to Friday 1st August, my knowledge of Irvine Welsh’s 1993 novel, Trainspotting was limited to it being a film, set in Edinburgh during the heroin epidemic of the 1980s. So, when I was invited to review Jon Walker and The Summerseat Players’ new iteration which, for the first time, has Harry Gibson’s stage play further adapted by Walker to include elements of Irvine Welsh’s 2012 prequel, Skag Boys, I was both intrigued and apprehensive.  

Having previously played a sold-out run in May 2025 at Theatre Royal, Ramsbottom, Trainspotting is billed as an immersive production which, quite frankly, should be renamed as a sensory overload in all the best ways. 

For those unaware of the original, Welsh/Gibson/Walker’s Trainspotting, now set in Manchester, follows a group of young adults navigating their lives in a time of a political unrest. Unemployment is sky high, and hope is non-existent. 

Before even entering the performance space, the audience are guided to the studio around the back of the theatre, being told to ignore the ‘crackheads’ lining the walls- actors, I must add. Walking up the stairs and into the theatre, you are immediately submerged into the lifestyle of our characters; thumping bass, graffitied walls and a cast integrating with the audience, making it clear that any fourth wall has already been smashed down. 

Sat next to me was a random toilet, obviously being oblivious to the plot, I had no idea what was in store for me, but- if you know, you know… Before the piece had even started, I had been ‘asked for change’, offered a ‘line’ and had somebody ‘vomiting’ next to me. Would I change it? Absolutely not.

For someone who frequents the theatre more than once a week, at times you can often forget productions, but quite frankly, Walker and the Players have cooked up an intense, potent hit that is simply unforgettable. Walker’s direction is sublime, infusing naturalism with moments of abstract physical theatre, taking the audience with the characters on their respective trips. Combined with sound design from Stephen Davies, Ben Talbot and Walker, with lighting by Andrew Bissell, Katie Worsick and Tony Hodkin, you barely get a chance to take a breath before the next impact hits you, with something always directing your attention to create fluidity throughout.   

Davies also leads the cast as Mark Renton, who, along with Connor James Ryan as Simon, give their everything to their performances, to the point where I didn’t just enjoy their performance, but I doubted whether they were actually actors. Gem Walker, as Alison, gives an intense performance showing the character’s vulnerability and humour alike. If I could mention every cast member, I would. This is a truly ensemble body of work and you can see how much work has not only gone into piece , but how much love and respect there is between the Players.

Writing this review, I have been taken back to Friday night and feel emotionally drained all over again, and should Trainspotting return to Manchester, I implore you to visit this incredible piece of work, which is so much more than a play, it’s art.  

For further information on The Summerseat Players’ productions, click here.

Ticket received in exchange for an honest review.

Photography provided by the production.