HERE, I FEAR, are notions of upperosity. Tankred Dorst (with Ursula Ehler) has created what's billed as an "epic production", in two parts over two weeks, with scripts which embrace different literary traditions and weave them into the fabric of Dorst's modern Arthurian interpretation".

Brimstone, a young Dublin company, has an earnest desire to open the eyes of performers and audience to "worlds beyond the English speaking" - and right they are to challenge insularity . . . bravo, director Cliona Maher, for taking it on, but, alas, all that glistens on far off shores is not gold.

Merlin has no heart. It is too eclectic in style, never dwelling long enough in one mode to engage the imagination. An eager cast labours to find coherence, but they're not sure whether they should clown or declaim, whisper or shout.

They are impeded by relentless black outs and by a towering, deep scaffold set. The accompanying music is stunning in its own right, but scarcely connects. We needed a bit more fun, or fire, Brimstone.