Scientists studying
brain function have discovered that what makes a work of art compelling are its
mysteries. You’re drawn in as your brain struggles to understand. Scholars say
that what makes a great work of art is its transformative power. Brian Friel’s
TRANSLATIONS is all that, and more: You are transported, transformed and even
transfigured by one extraordinary play.
Bad Habit’s
TRANSLATIONS (playing through Aug. 17th) is one of the loveliest
productions of the play I’ve seen. Moreover, the Bad Habit production itself is
a bit of a miracle. An accident sidelined one of the principal actors on
opening weekend and Victor Shopov stepped in, heroically learning the role in
three days. The rest of the cast transformed to fit Shopov’s interpretation
into theirs—and I’m happy to report that the transition is seamless. Shopov
adds an air of elegance to the scholar/elder statesman teaching Greek and Latin
to a colorful group of locals at an Irish “hedge” school.
They’re all in
for a change because the British army surveyors have arrived to turn their
little village (and the whole country) upside down. Place names will be
anglicized and borders restructured. The tenant farmer system, too, will be
overhauled, explains the stiff, unbending army captain (Bob Mussett at his no
nonsense best) through an interpreter (Matthew Barrett as the schoolmaster’s
enterprising son, hilariously mistranslating on purpose). Friel brilliantly
encapsulates 200 years of English-Irish strife in a sweet, funny, sorrowful story
of one little hamlet.
Friel’s
ingenious conceit wherein the Brits cannot understand a word that the Irish are
speaking (and visa versa) but the audience is able to understand them both
(because the play is in English) creates a charming breeding ground for an
awkward, captivating romance. Sarah Elizabeth Bedard as the spunky Irish lass
and Patrick Varner as the idealistic British engineer capture our hearts as
they fumble toward comprehension.
Director M. Bevin
O’Gara has a game cast to seize Friel’s words and turn them into flesh and
spirit: From Kevin Fennessy’s fantastical old dreamer to Gabriel Graetz’
unhappy, unfulfilled teacher (except with Margaret Clark’s eager, innocent
learner), from Gillian Mackay-Smith’s cheery but worried student to Greg
Maraio’s handsome, playful bounder: Every performance is folded beautifully
into the dynamic ensemble. Don’t deny yourself this experience.
