One could be forgiven for musing that the now prolific Enda Walsh started writing this entire play when he started rhyming Cork City with Pork City. From there he developed the characters Pig and Runt, born within seconds of each other on neighbouring trolleys in Pork Maternity Hospital. They become inseparable, with their own way of speaking and stated aim to be King and Queen of Pork City. Like many of Walsh's plays, the boundary between the characters' imagined reality and actuality is almost non existent. There is plenty of teenage hedonistic swagger combined with frankly gratuitous aggression. At times, especially when they are cruel to their mothers, or beating up Frankie the sales assistant at the off licence, one can feel pangs of righteous indignation. It's sometimes uncomfortable to watch from the angle of a middle class mother from North Oxford. Are Pig and Runt victims of the Pork City community turning them in on themselves, or is Pork City the victim here?

Runt, wonderfully played by Amy Molloy, shows the initial stirrings of developing independence of thought by wondering what colour love is? Pig, flummoxed by the question, eventually shows Runt the answer when they take a taxi out of town to beautiful Crossheaven where they see and smell the sea, seemingly for the first time – everything is blue and lovely. Obviously, the colour of love is blue!

This is a theme running throughout the play, as this answer to the recurrent question of the colour of love is the open sesame for Pig and Runt to gain admittance to their Nirvana – the Palace Disco. Whilst in the disco, with its revelation of a whole new exciting world away from the now claustrophobic relationship with Pig, Runt decides to forge her own path questioning: "Just me, all alone, in the blue?"

Disco Pigs is a deceptively sensitive portrayal of adolescent awakening, and was beautifully directed by Cathal Cleary. He kept the unusual way of speaking that Pig and Runt had developed over the years, which, when combining with authentic Irish (but not Cork) accents needed extra concentration by the audience. The music and set were pure nineties which added to the effect, setting the action firmly within context of the era, but telling a story that is timeless.

Definitely worth seeing – but possibly not for David Cameron's Christmas night out!