Many of the story strands in this tangled number by the German playwright Dea Loher feel like urban legends. An illegal immigrant, warmly played by Nathaniel Martello-White, stumbles on a bin liner bulging with euros and tries to play God. His tale is intertwined with that of a blind pole dancer by the name of Absolute. Franz (Chris Hannon), a pasty-looking chap whose face barely flickers when he sees his wife, finds fulfilment in a job picking up corpses for a funeral parlour, while the lonely Frau Habersatt seeks out families in mourning and passes herself off as the mother of their loved one's killer. These assorted souls, along with others, scrabble around for their lost innocence in a sullied world, and chance events turn their lives upside down. Loher's play is skittish and searching. It can also be annoying, and it is not always well served by Helena Kaut-Howson's production, which slackens too often. Yet if Innocence doesn't quite click, it buzzes with a surrealism that exerts a real pull.