Jez Butterworth's Parlour Song, at the Atlantic, makes a more adult effort at seriousness but gets little further, because it combines drably overworked material—unhappy marriages and suburban adultery, ho-hum—with a laborious, often pretentious approach. Butterworth's non-hero (Chris Bauer) is a demolition expert who pointlessly accumulates antique objects; his wife (Emily Mortimer) fancies the hunky car-wash manager (Jonathan Cake) down the road; the antique objects start inexplicably disappearing. It shouldn't take 95 minutes for a demolitionist to figure out what's going on, and there's no particular need for anyone else to sit through it. The actors, under Neil Pepe's direction, do reasonably, but Parlour Song itself is just another pointlessly accumulated antique. No actual parlor songs are sung in it, by the way; replacing a few of its duller monologues with a chorus or two of "Come Into the Garden, Maud" would improve it greatly.