Julie – a skilful and moving tribute to an innocent 14-year-old killed as the result of a plastic bullet (Kabosh Theatre at Roddy McCorley’s as part of Féile an Phobail & then on tour)

Over many years, I’ve driven past the annual white line protest against the use of plastic bullets on my way to indoor events at Féile an Phobail. But last night’s performance of new play Julie brought home the loss and emotion that gives rise to the yearly remembrance of lives cut short.

On 12 May 1981, Julie and her slightly older sister Bernadette had nipped out of the house on a message before dinner. Hunger striker Francis Hughes had died earlier that day and the young pair passed a group of women who had been peacefully protesting. Walking back up the road, clutching her newly purchased pair of tights for a disco the next day, 14-year-old Julie Livingstone was hit on the head with a plastic bullet fired from a British Army Saladin/Saracen armoured vehicle. She was taken to hospital and died the next day. An RUC officer advised the family that they didn’t need representation at the inquest. Many months later, now with representation, and at the third inquest, Julie was deemed to be an “innocent victim”. A week later, 12-year-old Carol Ann Kelly was injured in the same way, and died a few days later.

Kabosh Theatre have a strong record of examining the legacy of the Troubles. It’s almost nine years since they premiered Laurence McKeown’s Green and Blue at Belfast International Arts Theatre. Three year’s later, A Queer Céilí at the Marty Forsythe was an electrifying retelling of a key moment in Belfast’s query history against the backdrop of the continued conflict.

Over 70 minutes, Julie’s playwright and actor Charlotte McCurry recounts the sisters’ trip down to the shops and the tragedy that followed. The audience get a strong feel for the family dynamics. McCurry uses Bernie’s senses to bring scenes to life: the scratchy fabric on chairs in the hospital waiting room, the smell of smoke on a school uniform, the stink of fish about to be served for the parish priest’s dinner. The attempted assassination of Pope John Paul II on the day Julie died is skilfully woven into the narrative.

Director Paula McFetridge lets the Bernie’s powerful reminisces do the heavy lifting in this new production. Katie Richardson’s soundtrack is appropriately understated, taking its lead from the actor’s words, rather than ominously foretelling what is about to happen. Fergus Wachala-Kelly’s sea-themed animations bring the bedroom window – and sometimes the whole bedroom wall – of Tracey Lindsay’s uncluttered set to life without overtaking the primacy of the script.

Julie is a story that zeroes in on a series of women. A mother who bears this enormous grief. A teenager who is incredibly close to her youngest sister and overwhelmed by what happens. The woman who was leading the protesters in prayer and drove the girls to hospital. The lumpy-nosed housekeeper in the parochial house. Women who all found different ways of coping with the burdens life thrusts into their paths.

McCurry’s script and performance are a beautiful tribute to her Aunt Julie. Her adept writing silently evokes questions about modern legacy investigations, collusion and what justice means for families. The style of confident delivery keeps the audience’s attention. By the time Bernie is recalling Julie’s funeral, the emotional heft of the story is incredibly well established, and these final moments are exceptionally moving.

Following this week’s sold out run at Roddy McCorley Heritage Centre as part of Féile an Phobail, Kabosh Theatre will tour the play to the Seamus Heaney Homeplace in Bellaghy (Sunday 10 August – a single ticket remains), The Playhouse in Derry (Friday 15 and Saturday 16), and the Old Church in Cushendun (Sunday 17 – sold out). Each performance is followed by a short post-show discussion.

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