Herald Young Critics: Hard to be Soft, A Belfast Prayer, Lyceum

Perhaps the most striking episode in the performance was episode II - The Sugar Army. In this episode a group of exceptionally talented young women performed a piece that explores the strength that many working class girls need to have in their lives. What was impressive about this performance was the fact that you saw all the girls as a group collectively but you were also able to see each girl individually as well. Each individual seemed to have their own unique trait- be it subtle or obvious. As someone who is new to the world of dance , this whole show was phenomenal for me to see as it showed me how dance is more than just moving your body to music but an art form that can portray real people and real life struggles.

*Madeleine Cornfield  is a pupil at Boroughmuir High School and this review was submitted as part of The Herald Young Critics project with the Edinburgh International Festival.

More reviews of Hard To Be Soft from Boroughmuir appear below:

Festival Dance

Hard to be Soft

Lyceum Theatre

Isla Dunn

four stars

OONA Doherty’s ‘Hard to be Soft’ is a visual representation of an intimidate childhood diary. Split into five sections, each tell a story of something she has encountered within her life. It appeals easily to a wide audience - whether we understand all of the performance or not, everyone will look into the performance and see their reflection on at least once. Oona manages to convey simple, powerful messages within dance that even a complete dance novice would be able to understand. Take ‘The Sugar Army’-, a troop of young girls sporting bomber jackets and red lipstick using grand, wide movements to convey the pressure of appearance. They run around in circles to show the everlasting pressure and cycle young girls face- and the desperation to escape. The section ends with the group exiting the stage, bar one girl, who walks towards a beam of light, seemingly escaping the cage they’re stuck in, until she rethinks her decision and runs back to join her friends. This is something I’d be surprised if someone couldn’t relate to in some way. The feeling of being caged in, trapped; the desperation to escape a cycle; the pressure of looking good when you’re really falling apart. Doherty manages to tell the story of people who’s voices have been silenced. ‘Meat Kaleidoscope’ shows two men unable to communicate their feelings - it’s difficult to tell whether or not they are wrestling or hugging at times - showing the toxic masculinity that still occurs often today.   

Festival Dance

Hard to be Soft

Lyceum Theatre

Isobel O’Donnell

five stars

RAW and vulnerable. Oona Doherty’s ‘Hard to be Soft: A Belfast Prayer’ is nothing short of sensational. In four episodes the story of finding strength is told.

We open with a censer spilling smoke, rising up a pillar of light. Three boys surround it, teenage-like in their appearance but they stand peacefully, heads bowed akin to monks.

In the first episode Oona preforms a breathtaking solo. The background noises are a beautiful contradiction, an angelic chorus with the overlapping of men talking, fighting, women crying, screeching sirens and exasperated coughing.

The second episode, ‘The Sugar Army’, is anticipated by a recording of a woman talking of hiding fear and finding strength. This dance routine is preformed by young girls. They move with strength and power. Defiant.

‘Meat Kaleidoscope’ is the third episode and an exploration of masculinity and aggression. The voices of two men, who we assume to be father and son, are played in the background. “Have you forgotten where you came from?” one asks the other. The setting closes in as the men gradually ease toward each other. Moving from a hugging embrace to a brutal shove, we see the importance of touch.

The finale - ‘Helium’ - is an exquisite solo. The previous episodes almost summarised through these ten minutes of pure dance. The performance ends with a Kate Tempest style final word as the light is stripped away, until we are left with darkness.

A truly mesmerising performance.

Festival Dance

Hard to Be Soft

Lyceum Theatre

Lucy Donoghue

four stars

PASSIONATE. Powerful. Painfully poignant. Oona Doherty’s ‘Hard to Be Soft’ is a hauntingly beautiful dance performance like no other. Entwined with biblical symbolism, it is a moving depiction of Ireland’s Troubles and an exploration of the people of Belfast’s inability to escape a situation that is out of their control. It’s a gripping insight into the powerless trying to gain power over their own lives.

Set against the backdrop of a cage, the performances are split into five sections- each symbolising a different aspect of life in Belfast. From Doherty’s own riveting dance solo, to the empowering tribal dance of the Sugar Army, to the heartfelt display of raw emotion in Meat Kaleidoscope- the underlying message is clear: a desire to break free. Free from the clutches of toxic masculinity. Free from the jagged divisions of religion. Free from their newfound normality.

This show is a must see. An important representation of what it’s like to be people caught in a rut of discrimination and separation yet trying to unite to overcome this. It contrasts violence and sexuality, masculinity and femininity and conformity and individuality. Who would’ve thought a dance piece could evoke so much emotion and represent so much? Well, one thing’s for sure: ‘Hard to Be Soft’ is hard to ignore.

Festival Dance

Hard to be Soft

Lyceum Theatre

Finlay Bretherton

three stars

IF you consider dance the epitome of expression and find satisfaction from learning about human nature, then ‘Hard to be Soft’ is an ideal performance for you. However, if you do not adore movement with no plot nor dialogue, you may find yourself caged in the audience, just as the actors were trapped in a cage created by the walls of the stage. The performance was separated into four acts of varying quality, depicting poverty, strife and gender roles in northern Ireland; first came ‘Lazarus and the bird of Paradise’ a solo where Oona Doherty pranced around flailing her fists, depicting being trapped in a brutal world, filled with violent men unable to express emotions without usage of fists. ‘The sugar army’ followed, expressing feminism and endurance through poverty, a group of young women moved through the stage with fluid violent motions, showing strength and prowess, describing defying poverty with a brave face and makeup. ‘Meat Kaleidoscope’ had a strong message but weak delivery, it resembled dull molasses. The dance was two overweight shirtless men, falling and standing up together, they belligerently repeated this over and over. The message contrasted with the lackluster act however, it described the inability of male expression, being trapped alone, until suicide is the only outlet. ‘helium’ the final act was disappointing, a solo of meaningless movement simply failing to express anything comprehensible, making it tedious and underwhelming. To conclude, the performance was memorable and appreciable containing deep themes, yet it was not enjoyable.

Festival Dance

Hard to be Soft

Lyceum Theatre

Rosie Milne

two stars

WITH FOUR acts of interpretive dance Hard to be Soft: A Belfast Prayer was an emotional disaster. Each section brought a new idea from the colourful characters of Belfast portrayed in the first chapter by Oona Doherty to the raw vulnerability and plea for help in the last, giving diverse insight into the problems facing the city.

Despite the hard hitting themes such as the empowerment of women and the acceptance of vulnerability and a promising start, the show was more confusing that inspirational. The strong stances and intense lighting lead only to an ostentatious overtone.

Lacking in passion, the only redeeming feature was  the eye-catching linear set design created by Ciaran Bagnall which helped in  adding clarity to muddled routines.

Whilst possibly deliberate, the chaotic music emphasised the disturbed feel of the show, creating an uncomfortable, fragmentary atmosphere. Some may say this reflects the uneasy topics expressed however I believe that it only made the performance intolerable.

he message around the show is understandable and thought-provoking, however the execution was clumsy, therefore the performance receives twp stars.

Festival Dance

Hard to be Soft

Lyceum Theatre

Julia Turner

four stars

OONA Doherty’s “Hard to be Soft: a Belfast Prayer” embodies all the concepts that the title suggests: vulnerability, violence, and the need to band together in times of hardship.  

The first part, “Lazarus and the Birds of Paradise”, displays Doherty’s unique ability to morph into different characters, as she transitions from smooth moves to violent movement. Doherty’s ability lets her reflect many of the aspects of her subject matter, the troubles of Northern Ireland. The perpetual violence and fear the people felt is masterfully conveyed in Doherty’s dance. Part 2 was “Sugar Army”, which illustrated a powerful message of female togetherness. The haka-like dance from the troupe of young girls demonstrates the sisterhood needed to make it through the hard times of the troubles. “Meat Kaleidoscope” explored the relationship between vulnerability and masculinity. They are often at odds, and the use of the dim lighting, the reluctant approach of the performers and the awkward grappling of their dance conveys this very well. The conclusion, “Helium”, cleverly reflects the clearer state of mind Doherty’s dance represents, the audio is less of a clamour, consisting of less instruments and sounds, as her moves flow from violent to gentle, from masculine to feminine.

“Hard to be Soft” is a performance well worth attending, as Doherty has the superpower to hold an audience in rapt attention. The topics she deeply cares about are displayed in sensitively, yet frankly. Attend for the myriad of emotions it evokes, and the beautiful human empathy it stimulates.