What would happen if every woman in the world grew to be 9ft tall? So asks Sleepless Theatre Company’s dystopian look at gender politics that crumbles a little under its own ambition.

The production focuses on a likable couple, Cara and Nate, and their daughter Sophie. Over 60 minutes we skip back and forth across Sophie’s childhood. Alex Wood’s script veers between strong character drama and somewhat earnest feminist mouthpiece. This makes many of the reflections on gender feel a bit contrived, as we learn how society deals with “Sprouters” (the name given to the suddenly larger, stronger women).

The production feels slow at times and those who struggle with science fiction are perhaps unlikely to be won over. But there is still a lot to like. The story has some good reveals, such as the question of how sex and dating would change in this new future and the way Sprouter women in the developing world quickly become exploited for profit. Cara and Nate communicate using a mix of British Sign Language and spoken English, and so the implication that Nate didn’t teach his daughter how to understand sign language after Cara leaves their family carries a lot of weight.

Facebook Twitter Pinterest A lot to like … Paul O’Dea and Misha Pinnington in Nine Foot Nine. Photograph: Murdo MacLeod/The Guardian

The unfussy backdrop of a series of white frames that take on different colours means it’s easy to keep track of the frequent changes of setting. Creative captioning makes a strong case for the way making work more accessible can enhance a production.

The three actors have good chemistry with one another. Misha Pinnington skilfully navigates Sophie’s teenage anxieties about her new body, and Paul O’Dea plays Nate’s subtle shifts towards resentment and fear well. Alexandra James, as early Sprouter Cara, is great. Its message might be uneven, but Nine Foot Nine still says a lot about the power dynamics between men and women.