The Breffni Players Dramatic Society was founded in 1943 and was the first group in the town formed solely for the purpose of producing plays and fostering dramatic art. Prior to its formation many plays had been produced locally but only as a means to an end.  Typically, after the plays’ run, the group disbanded and a fresh financial crisis had to be faced with the start of each new play. 

The performance of these plays whetted the appetites of quite a number of people with the result that in November 1943, a public meeting was held in Labour Hall (once Gill’s garage on the Dublin road).  Here, the Carrick-on-Shannon Dramatic Society was formed. Among those who attended that inaugural meeting were Steve Lynch, Michael Colreavy, Séamus Colreavy, Kevin Gray, Brendan Monaghan, Peter Brennan, Séamus Peyton, Seán Guckian, Paul Mulvey, Pat Murtagh, George O’Toole, Thomas Beirne, Tom Lennon, Jack Mulhern, Paddy Dockery, Mary Reynolds, Mary McGowan, Annie Roddie and Angela Bambrick.

 

The elected committee members were as follows:

V. Rev. B. Keville	President
Mr Kevin Gray	Producer
Mr Steve Lynch	Chairperson
Ms Mary Reynolds	Hon. Secretary
Ms Angela Bambrick	Hon. Treasurer

 

The Labour Hall was the rehearsal venue for the first production Nothing in his Life by Louis J. Walsh in the spring of 1944. The Labour Hall once belonged to the British Legion Club but was passed to the local branch of the Labour Party in the early 1940s. (Interestingly, the Breffni Players was the name that was unanimously adopted at the first AGM in November 1944.) The Breffs unfortunately had to deal with location problems because The Labour Hall changed ownership and underwent renovation. Indeed the group had no fixed abode for a considerable amount of time, rehearsing in various venues. Many premises and school rooms became rehearsal venues, permitted by the courtesy of local individuals and clubs, enabling the Breffs to exist! Because of the numerous moves, the society’s earlier records have been lost.  However, in examining the available records, the history of the Breffs has been excavated.

"The Breffs" had to contend with a sense of insecurity because of the lack of funding and space, not to mention the emigration culture which pervaded these times. Emigration impacted directly on the society by draining the supply of talented actors from the group, making it difficult for the director to find new recruits. Despite such obstacles, the Breffs fought and survived the uncompromising 40s, becoming known as an established, successful amateur group in the country.