THE mass of furniture suspended above the Octagon stage for this production looked heavy and past its best.

I must admit, feeling slightly under the weather as I did, to fearing the same adjectives could be applied to The Price.

Happily, the sheer quality of Arthur Miller's dialogue -- and strong performances by the small cast -- meant it was as fresh and thought-provoking as the day it was penned.

Set in a New York attic packed with the relics and ghosts of the past, the play focuses on policeman Victor (Fred Ridgeway) who is forced to confront his personal history as he sells off the family possessions before the building is demolished.

New York-trained Warren Katz provided a welcome comic element to a serious play as engaging 89-year-old Jewish furniture dealer Solomon.

But it is when Victor's estranged brother Walter, whom he has not spoken to for 16 years, arrives and the two begin arguing about the price of the goods that this complex play really ignites.

Victor believes his decision to sacrifice a scientific career to look after his father laid the foundations for ungrateful Walter's success as a surgeon. Walter has other ideas.

You almost believe you have to take notes just to keep up as recriminations are belted back and forth like a tennis ball on centre court.

Miller's dialogue is masterly and profound and ultimately well worth the concentration required. You feel like you've been haggling for two hours but ended up with a satisfying deal. Roger Williams