Hamlet's question was to be or not to be. In our very different world, Helmet (aka Roddy, a pale youth damaged by life and the hours he spends playing computer games) has only one dilemma: to play or not to play.

The thing that might stop him is that his local gaming shop, the Zone, is closing down. With it will go the only non-virtual social interaction he has, with shopkeeper Sal, a man failing his father, his wife and himself, who dreams of being a stand-up comic from a life of "stand-up tragedy". Treating the shop's closure as simply another level in a challenging game, Helmet has taken dramatic steps to keep it open that little bit longer.

Douglas Maxwell's bittersweet, immediately involving short play focuses on the shop's final hours, casting the exchanges between Helmet and Sal as a game. The dramatic structure of the play follows gaming logic: each scene is a level, each "player" has three lives, and particular sequences are rerun, with different outcomes as the players learn how to dodge danger.

The digitally animated set, meanwhile, brings the game landscape to life on stage. The play begins with cartoon versions of the two characters on screen, caught in the cheesy dualism of computer battles; the play unfolds still surrounded by a digital frame recording the players' energy and lives lost.

This could all be too much of a gimmick, and yet it never dwarfs the very real, human drama of each character, tenderly drawn by Maxwell and beautifully played by Ameet Chana (Sal) and Tommy Mullins (Helmet). What begins as a battle between adversaries is transformed, through their emotional revelations, into a much more engaging contest between equals.

Working superbly on both high-tech and more conventional levels, Helmet is a play with dialogue you recall hours later (especially from Roddy's recollection of his younger brother dying) and a logic that ensnares, just like games do. I wanted to see the whole thing again at the end.

· Until March 30. Box office: 0131-228 1404.