Brian Friel’s “Translations,” now playing at Writers Theatre in Glencoe, IL, shows off the renowned Irish playwright’s signature skill in creating a stage full of memorable characters, 10 in this case, each with depth sufficient to fuel their dramatic paths.

“Translations” as Friel tells us, “has to do with language and only language.” Though written and played almost entirely in English, the Irish speak with brogues to “represent” that they are actually speaking in Irish; the British speak in a more formal King’s English. On stage, under the accomplished direction of Braden Abraham and dialect coach Eva Breneman, it becomes clear that Irish is being spoken, and when the few English speakers appear, that the two groups do not understand each other.

Friel treats us to a compelling story line—a love triangle—against a backdrop of an overwhelming British culture, bulldozing its way across the neighboring emerald isle. Set in 1833 in the mythical town of Baile Beag (Anglicized as “Ballybeg”), the action takes place in a “hedge school,” a form of resistance to this British cultural hegemony.

Hedge schools were illegal underground tutoring centers where the Irish adults would go to study ancient Greek and Roman classics, translating them and discussing them in their native Irish tongue.

Indeed, the play is very much about translated language. At the hedge school, we hear Hugh (Kevin Gudahl), a teacher at the hedge school and student Jimmy Jack (Jonathan Weir) reading Homer and Virgil and discussing comparative renderings in Irish. The only English word Jimmy Jack has bothered to learn is “bosom.”

English military cartographers have arrived in Baile Beag to map out the area, and set about developing Anglicized versions of the Irish names for the notable geographic features, rivers, valleys, streams, hills, etc. One character, Owen (Casey Hoekstra) who was born in Baile Beag but left years ago, has returned on retainer to the British as a translator whenever the British want to make themselves understood, or to hear from the locals. Owen also helps Lieutenant Yolland (Erik Hellman), known as “George” for most of the play, in the Anglicizing process.

In one incisive scene Owen explains to George the etymology of a place name for a crossroads: 

“We call that crossroads Tobair Vree. And why do we call it Tobair Vree? I’ll tell you why. Tobair means ‘a well.’ But what does Vree mean? It’s a corruption of Brian—an erosion of Tobair Bhriain. Because a hundred-and-fifty years ago there used to be a well there, not at the crossroads, mind you—that would be too simple—but in a field close to the crossroads. And an old man called Brian, whose face was disfigured by an enormous growth, got it into his head that the water in that well was blessed; and every day for seven months he went there and bathed his face in it. But the growth didn’t go away; and one morning Brian was found drowned in that well . And ever since that crossroads is known as Tobair Vree—even though that well has long since dried up.”

With the weightiness of its backstory, though, “Translations” is primarily entertaining and very funny. “Honest to God,” says one of the hedge school students, Maire (Julia Rowley), “some people aren’t happy unless they are miserable.” The characters are witty, and concerned with the life at hand, not the downside of British dominance.

In the course of the play, our British cartographer, George, falls for Maire, but neither can understand each other at first. We watch them learning bits of each other's languages. This relationship is also complicated by the presence of another hedge school teacher, Manus (Andrew Mueller), who expects Maire to marry him.

The scenes in which George expresses his ardor for Maire in language unintelligible to her are priceless. Over several meetings, they gradually learn some of each other’s language. It’s also notable that Maire abandons the hedge schoo, seeing her future in speaking English and emigrating to England. For Maire, George is her ticket to another life. George, on the other hand, has fallen for Ireland, and sees his future there, with Maire. Neither understands the other's motivation.

At one point, we hear Owen translating an address by Captain Landry (Gregory Linington) to the gathered hedge school students. Since Owen’s “Irish” translation is rendered in English by the playwright’s design, we see a complete disconnect between what Captain Landry states, and the way Owen delivers to the students.
Ultimately there are clashes borne of the magisterial power of the English over the Irish, and this forms a fiery underlay to the human drama playing out.

Set by Andrew Boyce and costumes by James Pytal are excellent. Kudos to dramaturg Bobby Kennedy for his work in identifying this lesser known Friel script. (The playwright’s best known work is probably “Dancing at Lughnasa,” brought to film with Meryl Streep in 1998.) A shout-out for the work of casting director Katie Galetti, CSA, who cast a wide net for the talent on stage. Performances by Andrew Mueller as Manus and Casey Hoekstra as Owen (the two are brothers) are particularly noteworthy, as was Julia Rowley as Sarah, a student with a speech impediment. I have to say I loved watching the angry student Bridget (Chloe Baldwin).

“Translations runs through May 4, 2025 at Writers Theater in Glenco, and comes highly recommended.