Ciaran O’Breen stars as Thomas in Deafinitely Theatre’s new production of Bull, Mike Bartlett’s sharp and unsettling examination of workplace power, bullying and survival. Directed by Paula Garfield MBE, the production is presented entirely in British Sign Language with creative captions.
In a co-production with Birmingham Rep and Park Theatre, Bull places four colleagues in a meeting room where jobs are on the line and the rules are never spoken aloud. As tensions rise, alliances shift and vulnerability becomes a weapon in a brutally competitive workplace.
Bull tours the UK from until 24 October 2026, visiting Birmingham Rep, HOME Manchester and Park Theatre.
You’re starring in Bull on its UK tour. What can you tell us about the show?
Bull is a show set in the workplace. The employer in the play is ruthless and makes the decision that members of staff must be fired to reduce employment costs, as the company faces growing financial difficulties. This intensifies tension and rivalries among the employees, creating an atmosphere of hostility and targeted oppression that builds throughout the course of the play as all the members of staff are eager to retain their jobs.
The play explores the definition of bullying, which is something that isn’t always obvious because a perpetrator may gaslight or confuse their victim to hide the bullying. The story itself is particularly depressing as a man who is vulnerable receives the brunt of the bullying. He is constantly being pulled down, which knocks his confidence.
However, there is dark humour within the piece, moments when the audience may feel inclined to laugh but know that they shouldn’t as they are watching someone being bullied, which is deeply uncomfortable to witness.
You play Thomas in the production. How would you describe the character, and what drew you to the role?
Thomas hopes to be seen as a professional, a good person and someone who succeeds in his career. However, his behaviour changes in response to being targeted by his colleagues.
He knows he needs to get along with them and be a team player, while remaining very aware that his boss is watching. He gradually becomes the person he thinks he needs to be to fit in at work and starts to lose sight of who he is.
That’s what drew me to the character: the reminder that we can all lose our sense of self during bullying. We can all spiral under pressure and become someone we never thought we could be. The challenge is holding on to yourself when people around you are trying to push you in another direction.
His colleagues are calculating and manipulative. They deliberately provoke him in front of his boss, pushing him to react in ways that could cost him his job. I really feel for Thomas.
Bull explores workplace bullying, power and survival in a highly competitive environment. What do you think makes the play so relevant to audiences today?
The audience is able to connect with Bull as most of us have experienced bullying at some point in our lives. Having the story set in the workplace makes it relatable as well; however, the setting is not important, as this story could take place in a school, a Deaf club, a pub, on a train, anywhere.
It is the experiences we see unfolding that people will relate to, particularly if they have had similar experiences themselves.
The employer being tough and controlling has an impact on the working world of the play, as we see this behaviour trickle down and influence other members of staff, resulting in conflict and fights. We see one member of staff becoming oppressive towards another and, in their hurt and anger, turning to bully someone else.
This creates a cycle of negative behaviour that seems impossible to break. I think the play is important because the audience watches the bullying unfold on stage, yet none of the other characters intervene or try to stop what is happening.
We then see the consequence of allowing this negative behaviour to continue, as people begin to step back and avoid getting involved out of fear of what might happen if they take action to end bullying.
Bull reminds us all that we have a responsibility to stand up and call out bullying. It is not appropriate, and it should not be allowed to continue.
This production is performed entirely in British Sign Language with creative captions. What does that bring to Mike Bartlett’s play, and how does it shape the audience experience?
Previous productions of Bull have been performed in spoken English, but Deafinitely Theatre’s adaptation tells the story through the lens of the deaf community.
The pressure of potentially losing your job takes on another layer when you’re a deaf BSL user, worrying about a lack of new job opportunities and facing communication barriers. The audience really gets to see each character’s desperation.
Another draw is seeing BSL in all its beauty. It doesn’t matter whether you know BSL or not, the performances are rich and expressive, and the creative captions include graphics that help tell the story.
Many audience members who don’t use BSL said they could understand some of the signs used on stage because the performers used visual and iconic signs.
The combination of BSL, captions, graphics and visual storytelling makes this production really distinctive. It’s a chance to see a show shaped by deaf creatives.
You’ve previously worked with Deafinitely Theatre on productions including Can Bears Ski? and Getting There. What is it like returning to the company for Bull?
I was overjoyed to have the opportunity to work with Deafinitely Theatre again, with Paula Garfield directing an entirely deaf cast. She’s been such an inspiration to me through the work she’s created and the barriers she’s challenged.
Deafinitely Theatre puts BSL, deaf culture and our community at the heart of its work, challenging the dominance of spoken English in theatre storytelling. Working with them helped me realise that I can feel fulfilled in my identity as a deaf BSL actor.
I also love the audiences that their productions bring together, and I always enjoy catching up with people, including members of the deaf community, at the bar afterwards.
The company has created a safe space where deaf creatives can develop their skills and confidence while making beautiful theatre that authentically reflects our community.
My connection with the company goes back to when I was 13 and first attended Deafinitely Youth Theatre. I travelled from Bristol to London for their week-long residency.
I was really nervous; my legs were shaking and my heart was pounding, but seeing the brilliant work of the other deaf people was so inspiring.
Coming back and performing in Deafinitely Theatre’s professional production now feels really special.
What would you say to anyone thinking of booking to see Bull?
Book your tickets quickly! It’s such a great show, and you’ll regret missing it.
