One of the Orange Tree's particular skills, seen to fine effect in its Shaw and His Contemporaries season, lies in serving reminders that some of the biggest names in 20th century letters also had dramatic strings to their bows.

It has brought John Galsworthy's plays back to 21st century attention and now comes the turn of John Masefield, best remembered as a sea-fixated Poet Laureate.

Nan, first directed by Harley Granville Barker in 1908, used to be a staple of the repertoire, but has not been produced professionally for more than 60 years.

And, it must be said, one can see why. With the advent of kitchen sink realism, this kind of primal, death-wish emotion, more akin to Greek tragedy than anything from its peer group, fell from favour.

Director Auriol Smith wisely keeps passions at a manageable level, but a discomfiting sensation lingers that there is simply too much drama for such a small space.

Interestingly, Masefield chose to step back a century, to a tightknit, religion-oppressed village on the banks of the Severn in 1810.

Here, Nan, whose life chances have been fatally tarnished by her father's hanging for sheep-stealing, lives a life of drudgery with a demonic aunt and ineffectual uncle. Marriage can be her only escape from this living death.

There's lots of rural yomping about, mentions of "pert cider" and accents so broad that they'd need two seats to sit down, yet in the midst of this quasi-caricature, Katie McGuinness's touchingly real Nan radiates integrity.

The wooing scene with Edward Bennett's disloyal Dick is profoundly moving in its simplicity, and even more so seeing as we know Kate Lock's vulture-like aunt is circling menacingly.

This is undoubtedly a valuable rediscovery, even if it is one unlikely to resurface again any time soon.

• Until 2 June. Information: 020 8940 3633. www. orangetreetheatre.co.uk.