Making Love, by Jess Scott Driksna | Directed by Martin Ashley Jones

Emu Productions & Sydney Gay and Lesbian Mardi Gras Festival 2017 | King Street Theatre (http://www.kingstreettheatre.com.au), Newtown, Sydney | Until 25 February

As Making Love opens, Sara (Eleanore Knox) is making herself, and her home, ready to meet Darcy (Philip D’Ambrosio), her new boyfriend.

But he’s a boyfriend with a difference. Darcy is a ‘synthetic’ — a perfect young man made precisely to Sara’s specifications by PAXCORP, a company making plenty by manufacturing exactly the lovers that its clients, known as ‘organics’, want.

To make sure things go according to plan on this all-important first date, Sara is joined in her home by PAXCORP’s Mitchell (Jess Scott Driksna) and his synthetic lover, the somewhat gauche but sexually unstoppable, Hercules (Matthew Oberg). Yes, you do get my drift.

It’s the new way, the logical conclusion — or not —of e-dating, social media and robotics.

Making Love does a fine job in investigating this brave new world and examining the dilemmas it raises.

Basically, is the perfect lover or partner — someone with absolutely no faults, someone who behaves exactly as you want them to, someone who adores you despite anything you do to them or to others — a better prospect than another organic, someone in who you have to invest time, effort and caring?

Is unemotional certainty better than emotional bliss and turmoil?

Things are complicated here by the unexpected appearance of Jackson (Shannon Daniel Fellows), a former, obviously imperfect lover of Sara’s.

Sara obviously hasn’t relinquished all her feelings for Jackson, and he certainly not for her.

Making Love takes a razor-sharp, at times very funny, look at this particular future of love and its associated emotions. For me at least, it also provided an unexpected twist at the end, but I’ll let you discover that one for yourself.

Look, Driksna’s play doesn’t really cover completely new territory. Ira Levin’s excellent novel The Stepford Wives, also ventured on to this ground, but it’s modern, it’s provocative and it’s certainly worth a look.

Above: Shannon Daniel Fellows, Matthew Oberg, Eleanore Knox, Jess Scott Driksna and Philip D'Ambrosio.