Oona Doherty: Specky Clark review – distressed orphan out-dances the abbatoir's raw reality

The Guardian

11-05-2025

Here we are in an abattoir with a talking pig carcass. You see, Oona Doherty puts worlds on stage you won't see elsewhere. Best known for her brilliant ode to working class Belfast, Hard to be Soft, Doherty's latest piece returns to her home town in a story inspired by past generations, including her great-great-grandfather (the original Specky Clark), where biography and fiction merge with messy edges. Specky (played by petite Faith Prendergast, dwarfed by the tall dancers in adult roles) arrives in Belfast from Glasgow aged 10. Doherty herself moved from London to Belfast at the same age – you can always question whose story this really is.
The show is rooted in realism but quickly moves to the magical kind and then full-blown fantasy. 'Let me tell ya a story,' says the narrator, conjuring backstories and personal myths. Set at Samhain, the Gaelic festival marking the start of winter, it's a liminal time when the barrier between the living and dead becomes permeable. Even the anachronistic soundtrack – a David Holmes tune thrown into what we assume is an earlier age – destabilises the sense of solidity.
When orphaned Specky is put to work in the abattoir, the pig he's been told to kill stands up and gives him a hug. This is the show's most arresting, affecting scene. It's the comfort Specky needs, but at the same the moment his heart hardens. It's comedic too, which is crucial to Doherty's tone (even if that's occasionally overegged).
The show gives us raw reality, and the escape from that. Specky dances with the sense of losing (then finding) yourself. Dance is catharsis; it's the portal out of here. For all that Doherty leans towards theatricality, she has an amazing way with pure movement, whether Specky's internal distress erupting outward in full-body shakes, or the whole cast moving as if Doherty has torn pages from a dance encyclopedia at random: an Irish dance leg flung high, a folk reel, a manic floss, a hip-hop move.
This is bold, original, distinctive work. But the driving dramatic idea, Specky's grief for his mother, is underplayed (despite dramaturgical input from playwright Enda Walsh). It doesn't burrow deep enough. We hope for a great redemptive arc that doesn't come. Which is realism, for sure.