This essay offers an examination of the adaptation process begun after writing, workshopping and producing a stage adaptation of Priest at the University of Alberta in 1996. Aspects of the adaptation/relocation process immediately raise parallels with translation theory: questions of (film-theatre) equivalences; finding solutions to adapting filmic structure and treatment of events into theatrical conventions and narrative techniques; transposition versus adaptation/adoption; justification of artistic/aesthetic choices - the screenwriter's versus the adapter's; freedom to create versus the integrity of the original source; and the issue of ownership. The essay presents an analysis of the challenges and solutions that were discovered in the process, and offers an opportunity for further discussion in applying translation theory to this adaptation process.