'Squeaky clean': the clue's in the name.

What Roger Goldsmith's latest work sets out to prove is that nobody is, that everyone's harbouring the odd skeleton, fear or insecurity.

Where better to have such drama pan out than in the family home?

The curtain rises at the New Wimbledon Studio (I'd never been before, and it's lovely, so do go if you get the chance), and we meet Ruth.

Tired, pestered, be-washing-gloved Ruth who seems a little flustered. And no wonder - she's busy raking in the dollar having phone sex whilst her teenage son, Alfie, visibly cringes at the dining table.

Ruth's overt, rampant sexuality is obviously a bit much from one's own mother, but especially so if you happen to be '22, and still a virgin. Come on, Alfie, NO ONE is 22 and still a virgin'.

Alfie's got a crush on Rose, who works at the charity shop round the corner, father Martin's desperately looking for a job, having been without one for six months, and Charon, their elder daughter, is consumed with anxiety for her impending marriage.

Within this hotbed of angst, I liked Annie L.Cooper as Ruth - the glue that seemed to hold it all together - and her sense of 'happy go lucky' tinged with age-old regret was palpable.

Mark Savage (of Grange Hill fame) touched sensitively on some very real issues facing modern-day society: the low ebbs of not working, of interviews gone wrong, the endless donning of the suit and the hopeful smile.

Joe Attewell as Alfie perplexed me, as he seemed to embody two very different men throughout the course of the play. On the one hand, the lonely, lost boy touchingly afraid he'll die intact; on the other, a violent, aggressive and pompous son.

I'd be all for this if Goldsmith's script asked for it, but somehow the mark was missed here and that fine line between 'character complexity' and 'two different people entirely' was sadly missed.

Director Colin Burden has done well to centre the action within this most fraught, tense family home: it's a deceptively gritty family drama and the individual relationships were well-explored.

Sometimes, I think key gear-changes in atmosphere were missed opportunities.

Characters often fly off the handle without any real warning, or confess deep truths to one another in throwaway moments, which could have been made much more of.

Ultimately, however, it's a job well-done: a faithful representation of a multi-layered text. At times hilarious, at others devastatingly sad, it's well worth a look.

Squeaky Clean, New Wimbledon Studio, The Broadway, Until Saturday 21 September, www.atgtickets.comwimbledon