Brian Friel's 'Translations' marks the final production by Altrincham Garrick in their season of Irish and Irish-influenced plays. Friel's play is dense and wordy, and with it being set in 1833, in an Ireland that not even those alive today would recognise, it is a curiosity piece in this regard, however, the politics, language barriers, racisms, and struggles that these characters portray are just as real and as relevant as ever.
We are taken back to a time when the Gaelic language was spoken by everyone throughout the country, and local hedge schools taught this to the communities along with both Latin and Greek. We find ourselves in the fictional village of Baille Beag at the time when the English army are sent here as part of a huge mapping initiative to map Ireland and anglicise their unpronounceable names. The stage is set beautifully - for this is performed on the tiny Laureston Studio Theatre stage - with hay bails, farming paraphernalia, desk, books, etc, with a broken stone wall leading to a blue horizon. Incredibly for such a large cast play - 10 performers - the stage does not feel full or crowded when all of them are on together as they are for quite a lot of the time especially in the middle section of the first act. The lighting works well, although perhaps more attention to the subtle changes of light for different times of the day would have been optimal. Sound quality was perfect and the Irish music before the show and during the interval was a lovely finishing touch.
Friel himself has said that perhaps this play should have been written in Gaelic, and indeed, for speakers of that language it would perhaps work better, although, the play has now been translated into several languages and performed worldwide, so perhaps, the play's appeal lies not in the actual language but in the meaning of what the language or lack of language conveys. It does get a little "comedic" at times though when one character asks a question in English to another whose reply is " I don't understand". It needs a sensitivity of directing and conviction of character to successfully carry this off throughout the play.
The ten cast worked excellently together, and their individual characters shone through. Sarah (Patty Linnett), a young lady with a strong speech impediment and so spends a lot of her time using sign language. her frustrations are obvious, her unrequited love of Manus nicely placed, and we actually understand that despite her lack of actual language, her reading of body language is increased and so she actually understands the situation between the Irish and the English a lot better than most. The hedge school master is a blustery, scholarly old man, Hugh (Nick Sample), and is given a slight air of pomposity and gentlemanly geniality in this characterisation, working well. He has two sons. The first, Manus, more or less reluctantly runs the hedge school in Hugh's stead since he is very fond of the bottle, Manus is very much opposed to the "invasion" of the English and fears for what will follow from this seemingly "innocent" cartographing of their land. Played with a sullen air of small defiance by Sam Evans. Hugh's favourite and prodigal son, Owen returns after a few years' absence, and announces that he has taken employment as translator and mediator between the English map-makers and the communities. This news is received with varying degrees of contempt / interest, and as the play progresses we see that there is indeed more to Owen than meets the eye. A perfectly studied characterisation by Ben Walsh. Mairie (Chloe Arrowsmith) makes for the more feisty and hard-nosed of the females, and is the one to stand up and say that they should be learning English and not dead languages, and that they should be progressing and looking forward. I felt at times her character was deliberately holding back, but was unsure as to whether that was due to a directional choice or not, but felt there was more to give bubbling under the surface. Her feelings for Yolland and her place at Manus's side conflicting throughout. Then there was the rather loud, mischievous playfulness of the young man Doalty (Charlie Gallagher), whose character arc was played with deftness and Gallagher brought a lovely new and needed new dimension into the cast. The Irish cast completed with Jimmy (Graham Simmonds) whose bumpkin appearance does not belie the intellectual beneath and Bridget (Georgina Brame) whose presence seems almost inconsequential, and yet, with her we learn more about the other characters, especially Doalty, with whom she is or at least would like to be romantically involved. The two English soldiers who disrupt the quiet are Captain Lancey (Jonathan Black) and Lieutenant Yolland (Tom Broughton). Of course these could have been played as monodimensional caricatures, but Broughton's sympathetic portrayal was almost too bland. There were times when we needed emotion from him and his British reserve held back. Again, was this directorial, I was not certain.
With costumes which brought the time period and setting to life, and a little music and dancing in the second act, this was a very truthful and sincere production, honouring the playwright's intents. Linguistically complicated, but don't let that put you off, but you do need to listen attentively throughout. This evening was opening night and as such the pace was a little pedestrian, but that will pick up once the cast are accustomed to performing in front of an audience and the rhythms of the piece are clearer. Although written in the 1980s, this play rarely sees the light of day, and it was only the second time this particular reviewer has seen it, and so this is one that you should not pass by.
Reviewer - Alastair Zyggu
on - 10.6.25
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