David Parnell's new play, Four Storeys, takes a few familiar themes and rings some modern changes on them. Set in today's Dublin, it has four main characters, in a complex of relationships, undergoing personal development and change. At a storytelling level, they often interest and entertain; but, when they are made to bear the weight of the author's philosophising, the going gets heavy.

In one of the play's pointless coincidences, all four are 30 years old and have the same birthday. Chris is a young businessman ruthlessly bent on success, a legacy from a domineering father. He promotes Marie to a managerial post and then tyrannises her into working mind-bending hours. This puts great strain on her homelife with partner Ciaran, a wanna-be novelist, who spends time daily in friend Katie's bookshop.

Katie, in more of a blatant contrivance than a coincidence, once had a big affair with Chris, who then called himself Matthew and behaved abominably towards her. All these relationships ebb and flow, with embedded flashbacks and snippets of the world outside, until they reach a kind of cut-off point which ends the play. Nothing is really resolved.

The author has devised an interesting style for his work, which he directs himself. With the help of Sinead O'Hanlon's mobile set design, he moves the action along at a cracking pace, and gives his actors credible dialogue; there is a sense of intelligent theatricality about the production. Paul Meade, Siobhan Miley, Alan Smyth and Jennnifer O'Dea fill their too cliched roles with manifest talent, but cannot give them a dimension - the third - lacking in the script.

Continues until August 1st. To book, phone: 01-8729977.