Actor Will Irvine chronicles the first two days of group discussions on Black Tenderness: regarding tempo, ‘things that jar on the ear’, accents and the effect the play should have on the audience. A challenge emerges: the characters’ language is not recognizable nor familiar to a UK audience, but the characters themselves are. How will audiences engage with this dilemma? Can the solution to this dilemma – a ‘third response’ – be found in what Irvine theorises as ‘translation land’?