Frontline is a young company dedicated to emerging talent. But after the success of Achidi J's Final Hours, dealing with racial tension in Germany, they now bring us a first play by Peter Elkins, which tackles the trials of dating, mating and separating. At a time when the theatre is once more actively engaging with public issues, this feels like a retreat into hermetic privacy.

Dan is an ad-man with a leaning towards poetry, Jude is a waitress with a suppressed penchant for dance. Dan seems vaguely patronising in his determination to introduce her to writers and artists such as Primo Levi and Rubens - she is "grace in motion" but intellectually listless. However, they get on well enough, drift into co-habitation, fall in love and, for no specific reason, eventually part.

"It's happening all over," as they sing in Guys and Dolls. The cafes and bars of every city are full of young couples, living in slightly different rhythms, nervously exploring their relationships. But, while Elkins writes good staccato dialogue, he abstracts his characters from society. You never feel, as in life, that their separate jobs, working-hours, incomes and friends define their love affair. Elkins's twosome live in a goldfish-bowl world where all that matters is the primacy of their feelings.

If anything came to mind it was one of those old French movies where couples explore their emotions against a background of rain-streaked windows. As in such films, it is the acting and direction that keep boredom at bay. Marcus Hamer as Dan has a lean, bookish anxiety that leads him naturally to come out with such aphorisms as, "Marriage is like a bowler hat - a strange relic that you feel odd wearing." Natalie Dakin invests Jude with a watchful sexiness and a suprisingly ability to execute balletic jetes in the living room. Rebecca Manson Jones directs with care a play that seems a throwback to the days when the minutiae of relationships was all that mattered.

· Until July 10. Box office: 020-7620 3494.