Removed

Removed is a funny, moving and shocking insight into the experiences of a young man sharing his story of living within the state care system.

ADAM IS OK TO SHARE HIS STORY - REALLY IT'S ALRIGHT - IT'S OK THAT HIS LIFE WAS TURNED UPSIDE DOWN - AND THE SOCIAL WORKERS WERE NICE, KINDA - AND THE FOSTER HOMES, WELL... AND HIS BABY BROTHER JOE?

Adam’s Story is fictional. It is not the story of any one individual, but rather an amalgam the many stories related some sad, some funny, some terrifying, all very real and very important.

Prime Cut first produced the World Premiere of the play at the Young At Art Belfast Children’s Festival in March 2019. From there it was selected to play at the Montenegrin International Theatre Festival, Dublin Theatre Festival, Baboro Children’s Festival Galway, a Northern Irish Tour and subsequently IPAY Showcase in Philadelphia in January 2020. Prior to the Pandemic it was scheduled to play at the Traverse Theatre  for a full run at the Edinburgh Fringe in August 2020 followed by an Island of Ireland Tour. The project  also grew into an unprecedented, extensive and innovative outreach campaign, exploring, highlighting and examining the issues dealt with in the play.  From an initial single collaboration, subsequently supported by Arts and Business NI the partnership grew and evolved embracing input from a wide variety of sectoral expertise including Barnardo’s NI, Home For Good, TUSLA and VOYPIC.  (Please see our Community Page for further information).

It has been an extraordinary journey, that superseded all expectations for the work and we are privileged to have experienced it. It was nominated for Best Direction at the recent Irish Times Irish Theatre Awards and for further information we attach audience feedback  and resource pack

  *11+: with parental/carer discretion (contains some strong language) 

REVIEW

“Ciaran Bagnall’s set evokes the snippets of Adam’s life that exist as hazy memories. A dynamic audiovisual display projected across a geometric set (which architecturally resonates with Belfast’s Titanic Quarter) situates Adam’s story as existing everywhere and nowhere simultaneously. Conor Mitchell’s sound design augments this surreal landscape of memory. Although simple in its task and its staging, this production does what it aims to do well: represent the stories of those who don’t often get to be heard and do so with integrity and grit." The Irish TIMES