Family Values, Griffin Theatre Company, Playhouse, Canberra Theatre.

David Williamson arouses weird sensations in a lot of theatre critics. He has been an institution in Australian Theatre for 50 years, from "The Removalists" through to tonight's show - with most of his plays giving a semi-comedic view of the issues of the day (from domestic violence and police corruption in "The Removalists" through to our current border policies and a grab bag of other issues in "Family Values"). And, yes, like most prolific playwrights, there's probably about five plays that I'd prefer went back into the "never to be seen again" drawer, and it's difficult to avoid the thought that a few of the last two decades worth of plays could have been improved by rewrites that would have been imposed if it wasn't for the fact that he's guaranteed box office so why bother fiddling with the winning formula. And even that the emphasis on him has not always been great for other writers who have fallen into the trap of being considered "the next Williamson" (and, inevitably, found wanting because they don't particularly want to be him, they want to follow their own muse).

But for all that, I own pretty much every play he's ever had published, and enjoy reading them. He's the kinda playwright that can be relied on for a reasonably speedy plot, some good jokes, a dramatic confrontation and a solid ending. And with solid direction they can provide an engaging night out. Lee Lewis is more than a solid director (I'm sure I've mentioned before how strong I find her work), as well as having prior form in keeping Williamson interesting (both with "Rupert" and with Griffin's production of "Emerald City" a few years ago, that solved some of the issues with Williamson's overly long rants by ensuring action continued during them). Yes, this one does have some clunky introductory dialogue, and it's true that in this family of mum, dad, and the three kids, one of the kids does seem to be distinctly underwritten. But it's a play that confronts some urgent issues - as Lee Lewis says in her director's notes "This play is not perfect, but it is necessary" - and while it wraps the standard Williamson tropes around it, there's no mistaking the passion with which Williamson shows his outrage at how successive Australian governments have treated asylum seekers. There's some great performances here as well - particularly from Belinda Giblin's mum showing her inner strength, Sabryna Walters as the person most effected by the issues, and Jaime Oxenbould finding some dimensions to a persona who could very easily be thin caricature. Sophie Fletcher's simple but useful design ensures the cast have a number of interesting areas to congregate, and there's a general sense that this has been handled with loving care to realising every bit of potential that the script has. Good stuff.