A contemporary dance theatre production staged by Vivies Dance and Theatre Academy is drawing national attention to the growing crisis of addiction among young people.

Titled Addiction, the production has emerged as one of the most talked-about performances on Ghana’s creative arts scene after two premieres attracted more than 2,000 patrons.

The production challenged conventional views of addiction by exploring struggles beyond drugs and alcohol. Through dance, music and storytelling, it highlighted issues such as social media obsession, gambling, toxic relationships, peer pressure, fashion addiction, sex, power and unhealthy coping mechanisms affecting many young people.

Organised by the academy’s senior dance group in partnership with DLP and supported by the Creative Arts Agency and  Unichem, the performance used emotional theatrical expression to expose the pain, loneliness and pressure driving destructive behaviour among the youth.

Chief Executive Officer of the academy, Vivian Boateng, said the inspiration behind the production came from her own personal experience.

“I discovered I had become addicted to my phone when I started my business,” she revealed.

“That realisation opened my eyes to how people of all ages are addicted to something in one way or another. Addiction has become part of modern life, yet many people do not even recognise they are trapped.”

According to her, the production was designed not just for entertainment but as a wake-up call to parents, schools and policymakers.

“The youth are drowning in all forms of addiction,” she said.

“From social media to gambling, fashion, toxic validation, and unhealthy relationships, many are struggling silently and finding it difficult to break free.”

She explained that dance was deliberately chosen because it remains one of the strongest forms of expression that young people relate to.

“Through dance and theatre, we can create awareness, provoke reflection, and advocate for support systems for those suffering in silence,” she added.

The production followed an emotional journey from temptation and entrapment to awareness, healing and freedom.

Audience members were visibly moved as performers translated pain, pressure, emotional conflict and loneliness into expressive movement on stage.

Lead choreographer and Academy Captain, Omoyemi Davies, said reactions from students after the first show exposed the depth of the problem.

“The comments and questions from students after the first show were heartbreaking,” he stated.

“It became very clear that many young people are battling different forms of addiction but have nobody to speak to and no safe spaces to seek help.”

He called on government agencies, corporate organisations and stakeholders in the creative and mental health sectors to invest more in socially impactful productions.

“Productions like this are necessary because they give people the courage to confront these realities,” he said.

The production has since evolved beyond a stage performance into a broader call for awareness, empathy and support for young people silently battling addiction.