Truth be told, translation wasn’t part of the original plan – despite what the name Foreign Affairs might suggest. But a year into our journey, we quite literally stumbled upon a play that changed everything – and we haven’t looked back since.
In 2010, a chance encounter with a Danish play – spotted while walking through Copenhagen – led to our first foray into translation: Lejemorderen (The Contract Killer) by Benny Andersen. Translated by Paul Russell Garrett, staged in London, and later published by Norvik Press, it marked the beginning of what would become a defining strand of our work.
Since then, translation has become central to how we make theatre – not just as a tool, but as a way of thinking. For us, plays in translation are spaces of encounter: between languages, cultures, and perspectives. They invite us to rethink the stories we tell and how we tell them.
These encounters also open up space for connection and conversation – helping us see the world, and ourselves, a little differently.
In 2016, we launched our Theatre Translator Mentorship: a programme of workshops and mentoring for emerging theatre translators. Since then, we’ve expanded this strand of our work through creative labs, masterclasses, and workshops rooted in our translation practice.
This page offers an insight into how we approach theatre in translation – and the people and processes behind it.