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(The Mint is also producing Granville Barker's "Madras House" this season.) Any fears that Mr. Mamet would take too free a hand in adapting the play, translating the quaint lexicon of genteel English — "I say" and "Good God" and "My dear boy" — into more, ahem, vivid language, are quickly put to rest.
Martin does not see that style of play translating well in the postseason.
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The prospect of the stage play translated for television has long made me somnolent.
The anonymous libretto is based on a French play translated into German.
I didn't think that worked AT ALL in a play translated into English.
(The play, translated by the director and Laurel Hessing, has been retitled from its original, "Winter Funeral").
But the excitement stems from seeing Pinter's play, translated by Philippe Djian, through fresh European eyes.
An English play translated into German, it has a German cast, singing English folksongs in German, I was there on the first night in Berlin.
This vivid, superlative production of Chekhov's last play, translated by Stephen Mulrine, embraces its comedy to underscore the tragedy and does so with an exquisite sense of balance.
His play (translated by Alissa Valles) paints life in the projects of an unidentified city as a depressing mix of irrelevant religion, dead-end jobs, violence and alcoholism.
His play – translated here by Roger McGough – is about a fit and wealthy middle-aged man, Argan, who thinks he's at death's door.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com