Ann’s Warehouse.) Runt-and-Pig-ese is not unlike the Nadsat tongue Anthony Burgess crafted for his teen sociopaths in A Clockwork Orange. (Audiences craving more Walsh this season can also catch Ballyturk, currently in production at St. Walsh has long been praised for his whirligig wordsmithing, inventing syntaxes and slangs that bend our ears to the particular music of his characters’ minds.
They anoint themselves king and queen of “Pork Sity.” They speak their own language, too, gargling and spitting slipstreams of slang, a Poto and Cabengo of their council estate. Ill-fitted to the world around them, the two protected themselves and each other by creating their own.
Runt and Pig - Sinéad and Darren to their mums - were born in the same hospital at the same time in County Cork. The production at Irish Rep - smart, sharp, and tight as a time bomb - is perhaps most interesting now for the way in which the play captures the trials and errors of a certain harrowing masculinity. Yet watching Disco Pigs twenty years on, it isn’t Walsh’s prodigious voice that strikes one the most. (Among his many credits: He’s won a Tony Award for the Broadway hit Once, and also collaborated with David Bowie on the musical Lazarus, shortly before the musician’s death.) Revivals are always interesting as origin stories of sorts, a chance to look back on a career that’s since bloomed and grown. When it was first performed, in 1996, Disco Pigs set tongues wagging, and Enda Walsh on his way to becoming an award-winning playwright. Colin Campbell (left) and Evanna Lynch as outsiders Ill-fitted to the world around them in "Disco Pigs." Jeremy Daniel
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