An ethical dilemma

If this wasn't George Bernard Shaw at the National, then this play's hefty two hours and 40 minutes would have long been slimlined, mutilated and then liposuctioned into a reduced size-zero package by the cosmetic surgeons of modern theatre.

But, fortunately, under the direction of Nicholas Hytner, Major Barbara has been spared such a fate.

Opening with a deeply witty and socially satirical drawing room scene at the household of the Undershaft family, we are soon reminded that this is the sort of play that wouldn't otherwise be written today, let alone produced.

The play's eponymous lead character is on a mission - a mission to save souls. As a moralistic member of the Salvation Army, Barbara Undershaft's belief in helping London's poor is at odds with those of her capitalist father Andrew, the proud owner of an artillery factory.

When he, along with a wealthy brewer, offers to donate a large sum of money to the Salvationists, Barbara is forced to decide whether to accept patronage from such morally questionable sources.

Actor Hayley Atwell does her best depicting her ethical dilemma, but, ultimately, there is little room for character development with Barbara's naive moralism ensuring that she remains one dimensional.

Interestingly, her less principled but more pragmatic fiance Adolphus Cusins, who is played competently by Paul Ready, is a more intriguing character, despite the play's title.

Perhaps it is because Barbara's unerring self-belief is now so rare that she is implausible to the modern-day theatregoer. Her equally sanctimonious father is not so hard to believe, partly because of Simon Russell Beale's convincing acting and partly because self-righteous arms traders are still familiar.

It is not difficult to imagine Andrew Undershaft today, particularly with his rhetoric in act three in which he tries to persuade his family that bombs and unrestrained capitalism are what the poor really need.

Do not be put off, this is not a simplistic didactic play. In fact, the argument that Shaw presents is surprisingly even-handed considering that he was a writer well-known for his belief in pacifist socialism.

For me, the unsung hero of the play is Britomart Undershaft, the powerful matriarch who is brought to life by a suitably strong performance from Clare Higgins.

In a play that discusses whether it's worse to sell out your ideals or to have no ideals at all, Britomart seems to be the only character who consistently avoids both.

Tom Pye's set is also worthy of note. You can feel the mixture of Christian hope and desperation in the Salvation Army's sparse homeless refuge, while the National's deep Olivier stage allows the Undershaft artillery factory to be depicted with a suitably ominous, overpowering atmosphere.

With the arms trade showing no signs of slowing, the state effectively outsourcing welfare responsibilities to charities and so-called "benevolent capitalism" proving that it is unable to offer meaningful solutions to poverty, Shaw would surely have been saddened by the fact that his 1905 play still rings true.

What this powerful, provocative and well-considered revival proves is that not only are the issues raised in Major Barbara still relevant today but they are even more relevant.

Plays until May 15. Box office: (020) 7452-3000.