"Sleep well, and thank you for the light", says cigar smoking Dr Rank in one of Ibsen's most poignant closures. It is a moment beautifully handled in the Feedback Theatre Company production of A Doll's House at the Triskel Arts Centre a production which somehow manages to dilute the feminist anger of its provenance for the sake of the poignant little human drama which is its vehicle.

Or is it? The very best thing about Mary Curtin's direction of this play, which is by no means perfect and by no means definitive, is that it allows the question without denying the integrity of Ibsen's argument. It is a particular marriage which is being examined, not necessarily an institution. It is people who are being dissected, not necessarily society. By lessening the scope or scale of the play, by making it intimate, funny and tender, this approach dulls the ironic edge on which its fame is supposed to rest. But it allows a different kind of relevance, and it is in domestic terms, in the language of broken hearts and relinquished hopes, that its force is reclaimed. Although there is no credit given for the translation, Mary Curtin and Feedback chosen an edition of resonance. Helmer is a man unassailable reputation kindest advice to his wife that she should go and practise her tambourine, yet Conor Tallon catches through his phrasing a pathos which cannot.be dismissed.

Catherine Montague is vocally finely tuned, although she must decide soon on one accent or the other Nora's coquetry is given in dramatically sensitive contrast to the brave, rash, daring personality which is her true self and which is dismissed by her husband. The direction allows some of her bigger moments to escape into flurry certainly a more hesitant and searching approach to the final confrontation would put these performances almost beyond criticism.

All the cast are up to the work, but Neil Pearson's Dr Rank achieves its crucial significance his love scene is a marvellous reminder of what a good writer Ibsen was, and how perfectly he understood the business of taking his audience prisoner.

While Catherine Mulvihill's heavily timbered set could be more accommodating in the matter of doors, its commentary on the drama, like other aspects of the production, blends with the final fade into an image, and an atmosphere, of rare theatricality.