As a play for today, John Murphy's The Country Boy is undeniably naive, sentimental and not free of cliche. For a while, in Garry Hynes's very literal page-to-stage production for Druid, these characteristics handicap the battle for the heart and mind of its audience. But not for long; and the cliche wins.

It wins because, while the simplicities may be of their time, the 1960s, the emotions are true and lasting. As realised here in some outstanding performances, they pack an empathetic wallop that brings a lump to the throat and moisture to the eye. Foremost among the actors who conquer difficult theatrical summit is Peter Gowen, as the emigrant back on holidays with an American wife.

Fifteen years earlier, Eddie - the country boy - left home to make his bed on the streets of New York, and now must lie on it in slumland. He drinks and spends too much, and is back only to try to prevent his young brother, Curly, from repeating his mistake. Memories overwhelm him, and he lashes out in bitterness at his city wife Julia. Peter Gowen is brilliantly effective, and Shelley Williams as the wife evolves from brash vulgarity to stripped-down dignity in a climactic collision.

There is a delicious and true performance from Eamon Morrissey as the father, with very funny moments that derive from sheer acting ability, and not from association with his comedian status.

Garry Hynes's direction focuses on the emotional and interpersonal nuances of the play, bringing them into moving harmony. Druid has created a fine revival of a piece of Irish theatrical history.

Runs until June 12th. Booking from: 091-569777.