The highly anticipated world premiere of Irvine Welsh's Porno catches up with the lives of Renton, Sickboy, Begbie & Spud, fifteen years after their appearance in TRAINSPOTTING.
Strong performances with clear-cut characterisations
So what have they been up to? The short answer is not a lot, which is perhaps why the play is high on dialogue and low on storyline. Of course, it’s the verbal exchanges which are the hallmark of Welsh’s works. The broad and uncompromising accents become the outstanding feature of the play, making it harshly realistic and for some, difficult to comprehend. Understanding every word is not essential, however. With such focused delivery as found among this ensemble, the meaning is always clear. It might not be soothing but it’s a real treat to hear.
Begbie (Chris Gavin) is out of prison and his opening monologues give some background to the situation which existed at the end of the first play. He’d been inside for the manslaughter of someone he’d knifed in a confusion of friendship and betrayal. It should have been murder, but in true gangster fashion, he rigged the crime scene. The gang were supposed to have amassed several grand from a deal, but Renton (Scott Kylett) stole his mate’s share and disappeared to Amsterdam. Meanwhile, Sick Boy (Simon Weir) has inherited the Port Sunlight pub with a large upstairs room that he deems would make the perfect porn studio. Fortunately for him Lizzie (Lynette Beaton), the daughter of the police officer with whom he's come to an understanding, already rehearses upstairs with the local amdram musical society and is happy to take on some extra acting work.
The remaining characters, like their fellow actors, give strong performances with clear-cut characterisations. Renton (Scott Kyle), Spud (Kevin Murphy) and Knox (Jim Brown)
have their own subplots, but nothing complex or profound emerges from them, despite the treachery and double-crossing that ushers in the denouement. Most significantly, however, the in-yer-face intensity that should accompany this play is lost in the overall size of the theatre and on the vast stage. Even the bar looks lonely and isolated on it.
Felix O’Brien’s direction cannot overcome these obstacles and Irvine Welsh's Porno, which doesn’t live up to its predecessor, is the poorer for it.
