This article is a reflective theorisation of the process of adapting my research for public performance in collaboration with theatre company Cap-a-Pie. The theorisation it offers is necessarily retrospective, but the changes in the UK political climate since the adaptation took place in 2015 have rendered it both more urgent and more coherent, for reasons I will outline below. First, I offer a brief account of my research and my reasons for wanting to adapt it for performance. The research took a Bakhtinian theoretical and methodological perspective to analyse six English-language learners motivation for learning English, understanding this as a process of ideological becoming (Harvey, 2014, 2016, 2017, following Bakhtin, 1981). The following analytical vignette, based on Harvey (2017), highlights an illustrative story from one of the participants: Dmitry was a very successful English learner in Russia, was highly proficient in English when he came to the UK to study for his PhD, and did not expect any particular difficulties with language or social life as a result of the move. He was also an amateur singer, so when he came to the UK he joined a choir, who would go for a drink after rehearsals. The first time he went to the pub with them, they asked questions about what kind of music he used to sing in Russia, and he answered in great depth and detail. But he noticed that people would soon start to lose interest; they would look away or become restless, or start trying to talk to someone else. This was, of course, very uncomfortable for Dmitry, and significantly dented his confidence in interacting in English. He was shocked that, even though he could speak English, communication could be so problematic, and social life so difficult.