Many views may be taken of Oscar Wilde, and most of them have found their way to the stage at one time or another. They have mined his plays for laughs, his trials for drama and his poetry and other writings for tragedy. And they are usually so packed with quotations as to be almost lazy substitutes for the originals, writes Gerry Colgan.

Terry Eagleton's one-man play, featuring Séamus Moran, takes a different line. He opens his account playing a guitar and singing, with more of the same to come. As the near-monologue proceeds he shows a forceful side to his character, fleshed out with speech and gesture that convey the impression that his sexual escapades were embarked on in deliberate defiance of a society he despised. This Wilde is a tough guy with a cause.

The trial scenes, in which the actor doubles as the barrister Edward Carson, make the point even more clearly.

The transcripts record the elegant fencing in which Wilde engaged until he fell back on denial and bluster. There is none of that here. The writer wins the exchanges with his wit and directness, in defiance of historical accuracy. His sexual candour may be admirable, but that is not what happened.

Eagleton is, of course, entitled to his perspective, which raises a question. Is his Wilde, as we cannot altogether get rid of the original, a convincing and entertaining creation? To the first part of the question the answer is no. Oscar had his own nobility, best seen in the dignity with which he accepted his fate, and he is not here. As for entertainment, Eagleton has had the gumption to coin many of his own witticisms, but they do not measure up to those of his subject.

Moran has a strong stage presence and repays attention for his adopted persona, whoever that may be. Maureen Collender directs.

Runs until June 21st, then tours