The Buddhist of Castleknock

Draíocht, Blanchardstown until Nov 16, Civic Theatre, Tallaght, Nov 18 - 23, Helix Theatre, DCU, Dec 2 - 7.

Swedish author August Strindberg once described family as "the home of all social evil" and "a hell for children". Harsh and exaggerated words they may be, but who will argue that there isn't an element of truth in them? Family is built upon the rock of identity, and it's when that identity is challenged that trouble can brew. None more so than during the season to be jolly.

Set entirely in the middle-class Sullivan household in the eponymous Castleknock suburb of Dublin, 'TBOC' strikes the keynote early on when Sean and Edie Sullivan decide that they will wait until after Christmas before they tell their children about Sean's recent cancer diagnosis. So it's made patently obvious that what is ostensibly a comedy, will cover wider terrain over the next two hours or so.

It's Christmas Eve, and Sean and Edie are looking forward to having the entire family home for the festive period. Teenager DJ is the only one yet to leave the nest; daughter Tara has already returned for Christmas; Edward arrives shortly after and the family 'unit' is completed with the arrival from London of John and his new girlfriend, Rai.

Fussing and fussy, Edie wants this Christmas to be perfect but Christmas Day hasn't yet arrived when the rot of familial friction takes its annual hold. The source of the friction is John, or perhaps more specifically, Rai. It all starts with John's disclosure that he won't be going to midnight mass this year because he is now, like Rai, a Buddhist. Phoney acceptance initially meets the news, but the shock to the family dynamic that John's announcement has wrought soon defiles the fake display of domestic harmony.

Christmas dinner provides the play's dramatic and humorous highlights. Spoilt brat DJ sulks because he can't watch 'Only Fools and Horses'; alcoholic Tara accuses John and Rai of wrecking the family's Christmas; Sean tries in vain to be a uniting force while Edward's horrendously unfunny quips further spoil the mood. It all becomes too much for Edie, who retires to bed having seen her dreams of an enjoyable Christmas well and truly eviscerated.

With a second act that makes up for a lacklustre first half, 'The Buddhist of Castleknock' is ultimately saved by its pacing. One senses that this might not necessarily be a deliberate thing, but that writer Jim O'Hanlon throws enough of issues into the mix to paper over the cracks. He only partly succeeds. Of the performances, parents John Olohan and Ruth Hegarty bring a nice chemistry to the parts of Sean and Edie, and seem far more settled in their roles than any of the younger members. However, it must be said that after shaky beginnings, all the performers become less stilted and mannered.

A special word of praise is most certainly due to set designer Fiona Cunningham and lighting designer Deborah Behan. Together they have created a set and atmosphere of warmth and homeliness - it's just a pity that the humanity inside it can't measure up.

Most would agree that Strindberg is unnecessarily harsh on the idea of family, but 'The Buddhist of Castleknock' shows that family expectations can be socially destructive, particularly for kids. This is an over-exaggerated and patchy effort, but it's very, very hard to dislike.

Tom Grealis