Domestic violence is not exactly unvisited territory on the Irish stage. However, Paul O'Brien's full professional debut throws up an insightful portrait of a family torn between past and present. It is a work of dark pathos with a catalogue of woes to make Angela's Ashes look like a Mills and Boon novel. The play is set in the fictional coastal town of Maidenstown, where an embattled mother struggles against adversity to keep her family together. Everything in the house is on hire purchase except the table, which Janet bought in a effort to present some semblance of normality. The table is a symbol of stability and provides an emotional barometer for a plot that grosses out on strong language, liquor and violence.

The story unfolds with a manic intensity, and the audience is bombarded with a vast array of themes in the opening scenes. O'Brien's scatter-gun hits many targets, and you sometimes get the impression that he has left no cliche unturned. Yet the dialogue is sharp and often funny as well as harrowing. O'Brien also has an uncanny ability to tweak moods, triggering strong emotions with throwaway comments.

Janet's Table also marks the full directorial debut of Andrew Flynn, who cut his teeth as assistant to Garry Hynes on her last five productions. It's an assured debut, and he gets the best out of a strong cast.

Paraic Breathnach gives an arresting performance as the villain of the piece (Brian), smouldering with resentment and frothing with rage; while Fiona Kelly is superb as the emotionally fragile Janet.