Chicago Tribune - Somewhat Recommended
"...Certainly, Mullen's production does not flinch from the intimate staging of the notoriously intense content of the work — there is sex, nudity and much wallowing in bodily fluids. There are some notably fearless performances, especially by Jenny Lamb, who throws herself into the variety of female roles that the piece demands. All of the male actors (Thad Anzur plays Frankie; Jay Cullen is Tommy; Shane Kenyon is Mark; Cameron Johnson is Spud; and Rian Jairell is Sick Boy) are perfectly fine. The piece just lacks, well, Chicago-style scenes, where actors can really show us their stuff. It ends up being too diffuse. Despite the material, the show keeps backing off from full-on pain and conflict."
Chicago Sun Times - Highly Recommended
"...I was entirely transfixed by the production now at Theater Wit, where that same scene is being played out in "Trainspotting USA," the show adapted for the stage by Harry Gibson, and "directed and re-adapted onto the American landscape," by Tom Mullen (with new material by Welsh)."
Windy City Times - Highly Recommended
"...Whatever this walk on the sordid side may lack in linear plot, it more than redeems in spectacle. An extensive tech squad has fashioned a kaleidoscopic universe reflecting the abrupt highs and lows associated with individuals dwelling in a constantly shifting multi-sensory state of altered consciousness. Dazzling strobe lights, serpentine VL-5 spotlights, subdued (almost subliminal) voiceovers and a spinning turntable-floor—occupied by carefully drilled ensemble of actors who ricochets off walls and wagon-units like bullets on a free-fire range—seamlessly convey the volatile giddiness of a world we hope never to visit for longer than the brief running time of this grim, intensely engaging, play."
Centerstage - Somewhat Recommended
"... Mullen’s version sticks pretty close to the source material, which is fairly brilliant, so the show manages to be absorbing despite numerous problems. The biggest deviations from the text are annoying modernizations and Americanizations. The original line “I hate being Scottish. Some people hate the English. I don’t…” becomes “I hate being Missourian. Some people hate New Yorkers. I don’t…”"
ShowBizChicago - Highly Recommended
:...Mr. Welch's book begins with the phrase "Choose Life". That notion of choice is the through line of each incarnation of Trainspotting, and one that is central to the drama in this production. At each crucial moment a character has a choice to make; whether or not to take a hit, whether or not to commit a crime, whether or not to give a friend his first hit; whether or not to go to rehab. This is the truth of the play and the truth of the life of an addict. For it is one day at a time, sometimes one minute at a time, that the choice of life has to be made. Some make it and some don't. Mark's decision at the end to choose life makes Trainspotting USA come full circle, much like the turntable he finds himself running on as the lights go dark. Trainspotting USA is a haunting piece of the theatre that you will not soon forget. Though you may not understand or care about the life of an addict you will surely come away a bit more enlightened at the darkness that this disease reaps on its victims."
Stage and Cinema - Not Recommended
"... Scatological as a landfill, it’s a raunchy rollercoaster, most of it believable even if you’ve never shot up or come down. But the opening-night laughs (nervous titters more than shocks of recognition) quickly dried up as it became clear that Trainspotting USA is, bottom line, an exercise in excess. No question, sadistic friends are going to dare their uptight pals to see this show. But if Jimmy told you to jump off a bridge, would you really..? You know the rest."
ChicagoCritic - Not Recommended
"... The production is a foul-mouthed, raw production filled with purposeless scenes demonstrating many ofthe heroin useincludingvomiting, crapping in one’s pants among other disgustingevents.Even thesexscenes are raw and amazingly un-sexy. There is tasteless nudity includingoneaddict shooting up by putting a needle intohis penis. Thestoryline is a series of disjointed vignettes filled with vividshooting-up scenes as well as several scream-and-shout violentscenes amplified with quite loud rock . Among the performances, each guy in the cast had there momentsbutJenny Lambshined as the sexy addict with the baby.ShaneKenyon narratedthedrama and bravely did several disgusting scenes including one thathad him defecating then putting his hands in a filled toilet to find his pills."
Let's Play at ChicagoNow - Highly Recommended
"...This show is like that commercial where a pan smashes an egg to symbolize being on drugs. Except instead of the cracking an egg analogy, it’s more like dropping an anvil on a baby illustration. TRAINSPOTTING USA is not subtle or gentle. The scenes are gritty and intense. I continually cringed, looked away and tried not to vomit. Director Tom Mullen doesn’t lull us into a hazy ‘baked’ reality. He continually jabs a needle into our arms among other things. Ouch, this is definitely going to leave a mark!"
Around The Town Chicago - Somewhat Recommended
"... The overall production is well choreographed as the actors do the set changes, very creatively designed by Dan Conley. The lighting (Jennifer Kules) is very mood setting and the use of strobe makes for some exciting moments on stage. Zach Thostesen handles the sound with some wonderful incidental music and the costumes by Bill Morey are very fitting. Landon Meier’s mask are very creative but hard to really see and Barbara Trinh does a great job assembling the vast array of props. Beau Forbes did the fight choreography, but no program credit was given for the accuracy of the drug regime ( I only hope that none of these solid actors knew any of this prior to rehearsals. The other cast members are Rian Jairell as Simon, Cameron Johnson as Spud and Thad Anzur as Begbie ( and a host of others) They were all solid and of course, Jenny Lamb truly showed her stuff playing all the female roles."
Chicago Theatre Review - Highly Recommended
"...Tom Mullen's casting, direction and motivation for his team of technical artists cannot be underestimated. This stage adaptation works because Mullen has thrown his heart and soul into this production, assembling the best of the best for his play. In addition to Mullen's sharply talented ensemble cast, Jennifer Kules and Zach Thostesen's richly evocative lighting and sound designs meld together creating a backdrop that truly enhances the action and mood. Dan Conley's flexible wood and metal set includes a turntable floor that becomes the play's transcendental metaphor, with Kenyon's Mark Renton running but going nowhere. This play may not be for everyone, but its raw, visceral punch is unforgettable."
Huffington Post - Recommended
"...Mullens underscores the action with a constant club beat, hinting at the characters' incessant hunger for the next hit. And just as things seem to be going nowhere quickly with the occasional "Jackass"-like gross-out moment, an event occurs at around the midway point of this 90-minute one act that drops the bottom out. Without giving too much away, I'll just say that Alison Lamb, who bravely portrays all the female roles in the dude-centric play, suddenly faces the cold, hard output of her selfish disease. And it's chilling, sobering stuff, which sets the story in a moral tailspin."
