Opera is a fraught collective process at the best of times, but Tête à Tête's new show, Family Matters, adds another layer to the communal experience of opera production. Or rather, it adds six new layers, since Amanda Holden's libretto, a reworking of Beaumarchais's play La Mère Coupable (the last of the Figaro trilogy), is set by six young composers. Each is given three short scenes, split across the show's two acts.

Knitted together by Bill Bankes-Jones's direction, and a four-piece ensemble conducted by Stuart Stratford, the idea must have been to create a fizzing diversity of musical styles to match the ebullient pace of the story. However, the effect of the continual lurching from one composer's music to another is to deaden the drama.

Updated to the early 1990s, Family Matters sees Aris Nadirian's Figaro in the service of Fitzroy and his wife Rosa, sung by Omar Ebrahim and Adey Grummet, who have just moved to town. Composer John Webb's Sondheim-esque vamping sets the metropolitan scene for the convoluted paternity problems that ensue, as the children, Flora and Leo, discover their true parentage thanks to the machinations of Robert Burt's Burgess.

The problem is that the disjunction between Cheryl Francis-Hoad's urbane, jazz-inspired harmonies and Helen Chadwick's nostalgic melodies is not only a contrast of styles but also between two kinds of drama. Fitzroy is a noble, tortured soul in the soliloquy that James Olsen composes for him, but a slapstick anti-hero in Francis-Hoad's music. More gratingly, Pete Flood's ham-fisted tango pastiche for Flora and Leo segues into a solemn and sentimental scene for Rosa, composed by Chadwick. The effect of all of these juxtapositions is to neuter the expressive potential of individual scenes, and to create a rudderless, confused drama. Only at the very end of the piece, in Olsen's duet for Figaro and Fitzroy, does Family Matters finally matter emotionally.

· Until February 22. Box office: 020-7936 3456. Then touring.