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The two-handed psychological thriller is practically a mini genre. Expect reviews to call it a 'game of cat and mouse', mention 'the shifting balance of power' and perhaps promise that it builds to 'an amazing twist'. The problem with these plays is that you can't really discuss much of the plot without breaking an unwritten rule of reviewing. Which is a shame as it's hard to get across just how absurd the play is - its inconsistencies and the two characters' lunatic motivations - without a frank and open discussion of the plot. The denouement just about squeaks by - although it's not particularly interesting - but then there's another makeshift 'twist' tacked on at the very end whose weakness is just slightly embarrassing.

Julia Smythe (Michelle Collins) is a psychiatrist whose latest client Adrian Wainwright (Rupert Hill) presents an almost textbook case of easily defined neuroses. It's so textbook that within ten minutes he has found the root cause of his impotence and tries to make a break for it. But Smythe quickly gives another possible cause of his problem and persuades him to carry on the session. But did she do this out of concern for her patient? Or did the thought of a cured client simply make her worry about lost revenue? To give the play its due the two of them certainly carry out the argument about how shrinks just get paid for sitting and listening, that they try and unearth ever deeper problems to make their punters keep coming back, that they prey on those rich and vain enough to pay their fees. But it's not great theatre and the dialogue rarely reaches the level of an internet chat forum on the same topic.

At the end of the first scene something is revealed which alters our understanding of exactly why Wainwright has gone to see a shrink. Then in scene two it goes a little crazy with Smythe acting in an insanely unprofessional manner just because of being ever so slightly riled by Wainwright. She takes her revenge on him by trying to convince him that he's mad - which would be fine if the play presented her as completely barking instead of just a bit bored of her job.

Although Collins' performance is not terrible she hardly gives the character any life - she appears to resemble a cipher who has to jump through a number of plot hoops. Though it's possible that could well be a reflection on the writing as much as her acting ability. Hill is perfectly acceptable in the role of the Wainwright - and again he's not working with much - but at a night at the theatre 'perfectly acceptable' isn't really a good enough reason for buying a ticket.

Deceptions' saving grace is that despite everything it isn't boring. If only it had been a little less - or a great deal more - ridiculous it might even have made quite a good play.

Deceptions is at the Theatre Royal, New Road, Brighton until July 4.
Box office 08700 606 650
www.ambassadortickets.com/Theatre-Royal-Brighton