Reviews

Upon taking my seat for this production, I was immediately impressed by the presentation and functionality of the set.  There are French Doors centre back and two single doors quite deep upstage on either side which both cleverly open with the doors downstage to as not to reveal any of the actors or potential paraphernalia in the wings.  The scenery is mostly blue with artistic touches of red everywhere which tie it all together nicely, creating a feeling of homeliness and warmth.

Basil Pepper would have been a beagle had his mother had her way. Instead, he paints fantasy figurines and attempts to work out the deeper meanings of Fred Basset cartoons. Until he meets Delia. She was a caterer at his father’s funeral, but he soon discovers she is so much more than that. She fills his head, he sleeps in her bed, and now he’s full of ideas – and action.

Finding new life in the classics, our directors often throw the switch to vaudeville; as though we Australians can’t abide too much psychological depth or anguish.

Chekhov argued this his last play was a comedy; his first director, Stanislavski, thought it a tragedy.  Admittedly Chekhov was close to death – and it is hard to pick the laughs!  They’re in the ironies and sad humour of this household of fallible Russian characters, individuals full of yearning and anxieties about what to do next.

What a coup for the New to have snapped up the Australian premiere of Significant Other – a beautifully written play that takes a different, deeper look at the complex relationship between gay men and the women who love them … and what happens when those friendships change. When any friendship changes for that matter … and someone feels left out.