Our Arts Correspondent Bryony Hegarty reviews the Arcola Theatre's latest controversial production.

B*spoke theatre company's revival of The Sanctuary Lamp, directed by the playwright Tom Murphy, inevitably has a different impact on today's audience than its 1975 debut, which shook Ireland and led to Murphy's withdrawal from the theatre for some years.

Set in a Catholic church, Jewish circus strongman Harry, troubled runaway Maudie and the Irish blackguard 'Francisco' pass the night in a form of contemplation of the soul, whilst airing their experiences and differences. The benign Monsignor, deftly played by Bosco Hogan, has hurried home to immerse himself in Hermann Hesse, leaving the keys with Harry, the new church clerk. To contemporary audiences, the reflections on religion, whilst still rooted in Catholicism, speak more broadly of a spiritual need for forgiveness, peace and resolution. Murphy says he was compelled to write the play, not as an attack on the Church, but to express the meaning of spirituality: 'it's the candle in the window, it's the bonfire in the distance, it's the faint music in the soul, it wasn't the church who lit that light it was man who lit that light... the gods can only provide the venue'.

As Harry, Robert O Mahoney has gentility and courteousness and a dark agenda. He articulates loss, anguish and the need for spiritual peace. Declan Conlon's portrayal of Francisco, circus man, and Harry's former friend, is hugely enjoyable. He wholly embodies the character and has a commanding stage presence. Francisco's disenchantment with Catholicism is powerfully delivered from the pulpit. Kate Brennan gives a compelling and graceful performance as Maudie, conveying her frailty and innocence and her faith in forgiveness, despite a troubled life.

Harry turns the confessional box (which has been serving as the church broom cupboard) on its side into a makeshift bed for Maudie, he raises the pulpit aloft in a demonstration of his former strongman glory and his rage at Francisco, but the sanctuary lamp is sacrosanct, and must be kept alight.

The perspective of the characters on the society of which they have fallen foul, is equally acerbic, and dryly expressed by Fernando, who regales us with tales of the events which he, Harry and companions have staged on the highbrow party circuit since leaving the circus.

This is without doubt an intense evening and, 35 years on, Tom Murphy's substantial play has much to offer.

Runs until 3 April in Studio 1

www.arcolatheatre.com