The new production of Samuel Beckett's Happy Days at the Civic Theatre not only endorses the universal acceptance of the author's work, but adds something of its own to demonstrate that this well-known play is open to some variation, to modulations of light and shade.

This is largely due to the performance of Nuala Hayes as Winnie, the woman buried in sand. Comparisons are sometimes deemed to be odious, a thesis which seems to me to be manifestly wrong. A reference to former levels of performance is sometimes unavoidable and need not be uncomplimentary. Ms Hayes's interpretation is as good as any I have seen.

In the first act, buried to her waist, she achieves a sustained vivacity, beaming brightly on the desolation that surrounds her, and on her largely invisible husband, Willie. If she falters at moments, her recovery is swift and sustained. The second act finds her buried to her neck, and a note of desperation has been subtly injected into the interpretation. But Winnie is going down fighting.

Mick Lally has what might be called a Beckett face, lined with living. He suits the part of Willie with some excellence and, apart from an inappropriate briskness in his final appearance, is a perfect foil to his partner. Colm O Briain's direction, Geraldine O'Malley's design and Paul Keogan's lighting coalesce with the acting to offer a most satisfying production of this now-classic play.

Until Saturday, September 25th; booking on: 01-4627477.