There are sparks of real promise in Conor Mitchell's first musical, which uses the group therapy session as its format. There is more than a touch of A Chorus Line about its self-confessional mode, although any high kicking is entirely of the emotional kind as the group of six, led by counsellor Neville, get to know each other. The stereotypes - the mummy's boy; the aggressive inadequate; the woman with the failed relationships - are all there, but with a distinctive twist.
In fact, the entire premise isn't nearly as creepy or navel gazing as its title suggests, not least because Mitchell's tunes and lyrics often have an acerbic edge. If it doesn't quite come off, it is in part due to the under-developed characters, who you never care quite enough about, and in part because of the staging. Mitchell also directs, and his decision to play the show in the round, with the cast sitting in the circle amongst the audience and sometimes rising to claim the central space, is a good one in theory, but would have been better still if it had taken into account the acoustics of the Union. Sitting near the band, it was often hard to hear the words.
It's a pity, because Mitchell can not only write a sophisticated tune but some of his lyrics have wit and verve too. The cast are also first rate and seize their chances, particularly Stefanie Moor as the brittle Barbara and Kit Lauren as the accident-prone and unlucky-in-love Amy. Not a perfect show, then, but a perfectly nice reminder that the Union is doing something to plug the gap in new musical theatre left by the tragic demise of the Bridewell.
· Until January 29. Box office: 020-7261 9876.
