Breffni Players bring Cat on a Hot Tin Roof to The Dock this February

The Breffni Players will return to the stage this February with a new production of Cat on a Hot Tin Roof, directed by Noel O'Callaghan. The acclaimed drama will run at The Dock Arts Centre from February 25 to 28, with performances nightly at 8pm. Speaking ahead of opening night, Noel O’Callaghan said the theatre group is currently in one of its strongest positions in years. “We’re as financially healthy as we’ve ever been in my experience of the group,” he said.

“We’re not really money-driven. We just need enough to keep putting on plays, basically.” Having staged productions in November and now again in February, with further performances planned for later in the year, he believes local theatre is in a good place.

“It is a good time for us. People are interested,” he said. “There are good stories to be told out there, and if you tell them well, people remember.” The play, written in 1955, remains one of Tennessee Williams’ most powerful works, exploring family conflict, inheritance, truth, and emotional repression.

O’Callaghan said Williams’ writing continues to resonate with modern audiences. “He wrote some great stories. They’re not happy-ever-after plays, but they’re very reflective of life,” he said.

“He had a tough life, and his plays normally reflect that. He was red hot in his early plays.” He added that he was drawn to the work after directing an Arthur Miller production. “I was on a bit of a buzz from the last play, so I was tempted to stay in that American vibe,” he said. “That’s why Tennessee really got the nod.”

The cast features a strong mix of experienced and returning performers. Gary Farley as Big Daddy, Martin Burke as Brick, Janet Feeney as Maggie, Dymphna O’Rourke as Big Mama, Jerry Farrell in a supporting role.

“They’re all stars in my eyes,” O’Callaghan said. “Directors tend to go to who they know, and I’m lucky to have them. They’re all good.” Bringing the production to the stage has not been without its difficulties, particularly with child actors and technical requirements.

“Logistically, it was hard enough,” O’Callaghan admitted. “I probably didn’t fully appreciate that when I was casting it.” The original script includes five child characters, now reduced to three, along with servants and period elements such as candles.

“You end up dealing with things you wish you didn’t have to,” he said. “But we’re getting there.” Originally written in three acts with two intervals, the play has been restructured for modern theatre audiences.

“Back then they had two intervals. Now you usually only have one,” O’Callaghan explained. “You’ve got to crowbar it in somewhere in the middle.” A key challenge has been preserving the long central scene between Brick and Big Daddy. “You can’t break that,” he said. “So we’ve had to go for a longer first act and a shorter second act.” O’Callaghan said The Dock provides the perfect setting for the production. “It’s an intimate venue. It’s an atmospheric play,” he said. “The audience are right with the actors, and that suits this story.”

Advance ticket sales have been encouraging, particularly for Thursday and Friday nights. “People recognise the effort that goes into a play,” he said. “It’s value for money.” He added that audience experience is always his priority. “People are paying their money, so you need to give them something,” he said. “I always try to do the best show I can.”