Characters speak English, even when they're supposed to be speaking Irish. Friel's convention is difficult to accept, especially when his play deals with language at such a fundamental level and is so firmly grounded in realism. Director Howard Davies compounds the problem by failing to distinguish when characters are speaking in translated Irish or actual English, causing frequent confusion.
While this production will undoubtedly be helped by its screen stars, the stage performances do not live up to expectations.
As Maire, Delany walks through the Irish countryside more like a street-wise New Yorker than a demure milkmaid. It is difficult to believe that she has ever seen a cow, much less milked one. Her charisma is regrettably undermined by an awkward performance.
Dennehy is also unconvincing as Hugh, a brooding Lear figure who mourns the destruction of his community. Partly because of Friel's flimsy dialogue, Hugh's appeals lack the weight of his pivotal role in the play as the last stand against the encroaching English language.
Sewell does a better job with Owen, the son who seemingly shuns tradition but is more conflicted than he realizes. Sewell explores the complexities of his character, only to find that Friel hasn't written enough to fully express his thoughts.
The standout performances come from those not blessed with name-recognition, most notably Compsty as George. His presence, to a much greater extent than Dennehy's, evokes the inspiring spirit of the native Irish.
Donnelly also gives an impressive performance as Jimmy Jack, the Fool counterpart to Dennehy's Lear. Campbell is affecting as the spurned Manus, especially in his heartbreak at finding Maire with George.
The set design, by Ashley Martin-Davis, effectively denotes the school as the focal point of the town's struggle with the forces of change. Chris Parry's lighting enhances the set with its subtle colors, evoking the tenuous purity of the town.
While humorous and enjoyable, Translations ultimately fails to produce a memorable theatrical experience. Its lackluster stars and conflicted plot combine to touch the skin, but not the soul, robbing Friel of his poetic voice without offering a compelling narrative in return.