THE sparsity of the set is the first noticable thing on entering the theatre. Seated around the extremities in a single row against the wall, the audience is placed into a waiting room where files are kept and a few administrative officers are working silently in the centre.

On the floor, a child plays while oblivious to the surrounds. She paints on cardboard while being overseen by a caring official. Radio interviews are heard in the background. We could forget we are in a theatre and easily imagine being in a waiting room. The incongruity of the child midst this cold officialdom is immediately obvious.

“Catalogue Of Dreams” concerns the very real and difficult areas of children caught in grey officialdom and dysfunctional family situations.

Much of the production negates the actor and the theatrical in order to focus on the issue. This is a strength that makes it resemble a kind of installation. We hear the real voice-over of a child being interviewed.

It is also a weakness. Some audience members may be irritated by the long silences. While there are some very theatrical moments in isolation. The actors seem under-utilised in the creation of a fleshed out artistic work.

Strength or weakness? Perhaps it deliberately leaves space for the audience’s attention and involvement to empathise and connect