There is an abundance of interest in Michael Scott's reinvention of the mystery plays. Fourteen writers contribute 26 Bible-based narratives, taking us from The Fall of Lucifer to Judgment Day. It is a four-hour journey and it renders "value for money" a dubious concept - despite the high level of writing, one is praying for crucifixion long before it is due.

The audience starts its evening behind the safety curtain (to witness the arrogance of Lucifer, asserted largely by pelvic thrusts of well-filled Y-fronts) before moving gratefully to the tiered seating on the floor of the auditorium. Occasionally attention reverts to the stage. There is a lot of energetic coming and going, not always to intelligible purpose.

The production seeks cohesion, but, with so many hands contributing dialogue, this is an impossible task. Fergus Linehan's spritely rendering of the Noah story is very much in keeping with the jolly rhyming of medieval productions. Michael McCaffery gives us Mary breaking the news of immaculate activity to an incredulous Dub, Joe. Pat Kinevane relates The Death of Herod in a fine piece of aural experimentation.

Derek Chapman provides Lucifer with a scintillating, dexterous text (Klaus Hassel's rendition is one of the performance highlights). Add thereto: Joe O'Connor (sharply vernacular), Gavin Kostick (suitable caustic), Brendan Kennelly and Aidan Matthews. They start to draw out the contemporary significance of Judaism and Christianity, but sadly it is not enough to camouflage the leaden inventiveness of the direction.

The acting fluctuates between high competence (valiant work by Derek Chapman in loadsa roles; James Watson brings a dignified Scottish burr to a fine portrayal of Jesus; Hassel is strikingly satanic) and amateur energy.