THERE’S nothing like a happy family reunion.

And Harold Pinter’s The Homecoming is nothing like a happy family reunion.

This must have seemed pretty shocking when premiered in 1985, both for its language and its content.

Today, it still packs a mighty punch, with the ability to make you gasp at the latest twist, while laughing at the jet black comedy.

Teddy (Ian Harris) arrives back at his London home with his bride of six years, Ruth (Suzy Cooper). The fact that they turn up unannounced at dead of night and simply go up to his old room should alert us that Max (Paul Shelley), a cloth cap and braces sort of old geezer, and his son are a rum bunch of reprobates.

Lenny (Sam Hazeldine) has his own business in Soho (nudge, nudge, wink, wink) while younger brother Joey (Jack Ashton) boxes. The family is completed by Max’s chauffeur brother Sam (Robert Pickavance), who’s seen things in the back of his car that shouldn’t be spoken about in polite company.

Director Damian Cruden warns in the programme notes that the audience is expected to work as hard as the actors at understanding all this. But he conducts the proceedings like a maestro, aided by Dawn Allsopp’s living room set (as squiffy as the morals of the people on view) and Richard G Jones’ dramatic lighting.

There’s a violent physical attack and a heart attack, but essentially Pinter’s script uses the mind and the emotions to tease, tantalise and terrify the audience before hitting them over the head with the next outrageous revelation.

He is well served by an excellent cast, walking a tightrope between dark comedy and even darker drama.

But the centre of attention is Suzy Cooper – abandoning her regular York pantomime persona – as Ruth, described as a “very popular woman”.

We come to find out why in the most explicit terms.

■ Until June 20.

Tickets 01904-623568 or online yorktheatreroyal.co.uk