LI'L BIT Is only 11 years old when she has her first "driving lesson". It takes place on a dark back road in Maryland, Pennsylvania, upon the knee of kind, softly-spoken Uncle Peck. From that moment, she loses possession and respect for her over-developed teenage body, falling deeper and deeper into a claustrophobic, mutually dependent relationship, which, in spite of assurances from this trusted, adult relative, she knows in her wise young head to be terribly wrong. Paula Vogel's Pulitzer Prize-winning play takes neither side, opting instead to underline the way in which, in such relationships, exploitation can be a two-way affair, with the abuser often as needy, imprisoned and led-on as the victim.

Far from emerging permanently damaged, the grown-up Li'l Bit looks back on a life-enhancing, rites of passage experience, forgiving both herself and a man, destroyed by wartime memories and alcohol. It is a take on a sensitive issue, which some who have lived through such horrors may find a little hard to accept. It is not an easy watch - nor, indeed, should it be.

Executive producer John Sheehan's debut production for the Lyricturns the screw on an unsettling series of chilling, clandestine encounters, which swing back and forward in time at a single, unrelenting pace. In contrast, Katherine Sankey's underused set is little more than an unthreatening, almost-cosy backdrop of rolling hills bisected by a Tarmac road. And Vogel's creation of a Greek chorus of commentator-conspirators here becomes a family of red-necked hillbillies, not far removed from the Brady Bunch, though the excellent Abigail McGibbon hints at what might have been achieved with a more stylised, theatrical portrayal.

But there is no denying the fine central performances by Mark Heenehan as Uncle Peck and the accomplished Karen Ardiff as Li'l Bit, who brings great dollops of bravery and chutzpah to this difficult, demanding role.

How I Learned to Drive is at the Lyric until September 23rd. To book phone Belfast 381081.