Even Hamlet hinges on a death in the family. August: Osage County is not in the same class but it is a formidable, lumbering, absorbing modern American family saga with multiple characters, a carpet of four letter words and overtones of Eugene O'Neill. Director Cate Clelland and an excellent cast of 13 bring all the angst to vigorous life on a long, spare multilevel set (Clelland's design) under Hamish McConchie's selective and moody lighting.

The play centres round the death of academic and poet Beverley Weston (David Bennett), briefly and poignantly glimpsed as he interviews Johnna (Linda Chen) for the job of looking after his cancer-stricken wife Violet (Karen Vickery).

Beverly goes missing and the family assembles for what will become a funeral and its aftermath. Violet's sister, the forthright Mattie Fay (Liz Bradley), arrives with her mild mannered husband Charlie (Michael Sparks) but not with gentle son Little Charles (Ethan Gibson) who, it is later seen, clearly has trouble coping with the basics of life.

Violet's three daughters complicate the scene further. Barbara (Andrea Close) is in the throes of separation from husband Bill (Jim Adamik). Their daughter Jean (Amy Campbell) is a moody young teenager. Karen (Rose Braybrook) is anticipating a storybook marriage to Steve (Paul Jackson) whose positive potential as a reliable partner is quickly undermined by his behaviour round Jean. Ivy (Lainie Hart) looks downtrodden but shows she cares very much for Little Charles.

It's Violet, however, who is at the centre of the storms that blow up round the central crisis. Vickery makes of her a commanding figure, ill but still able to target the vulnerabilities of her offspring and anyone else in the firing range. She's not without her reasons but it does not make for peace and harmony.

But then peace and harmony do not necessarily make for good theatre. The post-funeral lunch is feral and by the play's second interval it is a wonder that any of the characters are on speaking terms. The cast revel in dialogue strewn with home truths and character observations and the revelation of family secrets. And the casting leads to gems like Adamik's Bill, moving on sadly but ruthlessly from wife Barbara to another relationship.

The play also manages to give even the smaller parts moments of focus. Bennett's Beverly has seemingly little to do but haunts the piece. Chen's dignified Johnna, the Cherokee who takes over all the practicalities of cooking and cleaning, becomes (in a slightly clumsy metaphor but nonetheless evocative) the Indian in the attic, the unsung basis of the spoiled modern Americans' existence. And the unassuming sheriff Deon Gilbeau, who was Barbara's boyfriend years ago, gently played by Brian Kavanagh, hints at saner ways of human relationships.

But at the core are the no-holds-barred arguments between Violet and daughter Barbara. Vickery and Close rise to the challenges and the results are utterly riveting. It's a long evening but the Free Rain ensemble has brought a fascinating play to life.