Iona Bremner Productions and Theatre503 present Derry Boys, a brand new play from emerging Irish writer Niall McCarthy, directed by Andy McLeod. Developed through Theatre503’s Rapid Write Response programme, this sharp and powerful and wryly funny new work explores identity, ambition, and what it takes to carve out a place in the world.
Born and raised in Derry, Paddy and Mick have always dreamed of something more. But when they’re torn apart as children and later reunited as adults in London, they discover just how far they’ve grown in different directions - and how radically different their visions for the future have become. As the play unfolds, we watch how the boys’ lives gradually diverge, shaped by class, education, and personal choices, punctuated with moments of darkly funny camaraderie and growing tension, before reconnecting in adulthood under very different circumstances. Although reunited physically, the emotional and ideological distance between them reveals just how far they’ve drifted from one another.
Spanning two decades and set between Derry and London, the play explores what Irish idenity looks like in a post-troubles world, told through humour and heart, using witty, sharply drawn dialogue, Derry Boys is the story of arelationship between two boys whose lives are shaped by the political and cultural landscape of Northern Ireland. From teenage stunts and minor rebellions to adult disillusionment and radicalisation, Derry Boys traces Paddy and Mick’s journey through formative years shaped by sectarianism, economic frustration, and the search for identity.
We sat down with Niall McCarthy ahead of the run at Theatre503 to learn more.
What can you tell me about Derry Boys?
Derry Boys is about two young lads finding their place in the world through terrorist extremism. I used to say it was about the Irish condition, but the further I went with the writing, I realised it’s very specifically about the Derry condition. It’s its own thing.
What inspired you to write this piece?
My whole life. While the events of the play aren’t based on a true story, the characters tell a lot of stories and say a lot of things that are either true events or things my friends and family have literally said to me. I wonder if they’ll recognise their own words when they hear them.
How did you approach the development of the piece?
The play began as a ten-minute piece for Theatre503’s Rapid Write Response programme. The reaction from the crowd was beyond anything I’d experienced before, so I immediately started working on a full-length version. I didn’t want to touch the original because it had such a strong response – that version is still the opening scene of the play. Everything else grew from that point, which isn’t normally how I write. But much like in stand-up, you lead with your strongest joke, right? Hopefully it was the right call.
How much of your own experiences made it into the piece?
It’s all based on real stuff. And there’s even more that had to be cut as the script was refined. That’s part of the process. The hardest bits to cut are the jokes.
How do you balance the themes of honour and heart?
That’s an interesting question. I guess honour is what you feel you have to do, and heart is what you want to do. Those things are often in conflict – and I think that’s why people go through life not really knowing what they want. Maybe they do know, but it clashes with what they need, so they never pursue it. It’s the duality of man.
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| Niall McCarthy |
Why do you believe now is the right time for this piece?
Three years ago might’ve been even better—but no one would let me make it then! I think this story will always be relevant. There’s always conflict somewhere in the world, and people going through what these characters are going through. It’s wild how universal it is. The whole world feels like Derry now.
How do you view the theatrical landscape in 2025?
I might be the wrong person to ask—I’m not really a “theatre person.” I think most people would say it’s tough right now. Funding is hard to get, and the money seems to sit with the top 1%. But that’s just how ecosystems work. That said, there are still new and interesting plays being developed, especially at places like the National. So for audiences, I think the landscape probably looks pretty good. But again—no idea what I’m talking about!
How have things like the COVID pandemic and Brexit affected the work you create?
When I first wrote Derry Boys three years ago, both COVID and Brexit felt huge. We’d just come out of the second big lockdown, and Brexit had fully kicked in. There was a lot of fear around both—and that definitely shaped the initial draft. The world felt like it was shifting, and people were scared. Of course, now everyone pretends they weren’t, just like everyone pretends they never liked Hamilton.
What was the first piece of theatre you saw that had a big impact on you?
I’m from Derry—we maybe went to the theatre once a year growing up. I don’t think I saw something that really affected me until last year. I went to see Spirited Away—bought the tickets a year ahead because the girl I was seeing at the time was into anime, but we broke up before the show. So I ended up going with someone I met on Hinge. Neither of us were fans of the film, but the show was brilliant—the puppets were so funny. We snuck in Nando’s chips and tried not to get caught. I think we might’ve held hands for a moment… or maybe I just wish we did. She flew home the next day. Bought a t-shirt from the gift shop—I hope she still has it. That’s when I got what people mean by “the magic of theatre.”
What keeps you inspired?
Have you ever listened to Stereo Saiyan?
1What do you hope someone takes away from seeing Derry Boys?
Brian McDonald says there’s only one theme: that we’re all the same. That’s the only thing I hope people walk away with—an understanding of that.
Where can audiences see the show?
At Theatre503 in Battersea, until 7th June. Tickets are available at: theatre503.com/whats-on/derry-boys
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