Rhomboid, at fortyfivedownstairs

What do you call a loving relationship that can’t readily be categorised?

Rhomboid, according to the central character in Eric Jiang’s humorous and poignant play of that name.

A dictionary definition of the term is also apt in terms of what unfolds, for it refers to a lopsided diamond.

Photos by MOUK. MEDIA

Filipino Xavier (Ken Paolo) and Caucasian Sebastian (Lawrence Hawkins) get together in their final year of school.

There is the awkwardness that often accompanies the first blush of a relationship, but their attraction to one another is unmistakable.

While they are good together, as both leave school Xavier makes it clear that he is not ready for a permanent, exclusive commitment.

And so it is that although they continue to be mainstays in each other’s lives – on occasions with hefty periods apart – they have other hookups.

Sebastian begins an exclusive relationship with Felix (Chad Rosete), while Xavier keeps bumping into and skirting around “a thing” with Lachie (Chad Rosete again).

But the truth is that neither Xavier nor Sebastian is complete without the other.

So, the nature of their relationship may have changed, but the one constant is a deep-seated love, warts and all.

Maintaining their connection is not always easy – in fact, at times it is really challenged – but navigating that is what Rhomboid is all about.

The touching piece has been superbly written and is well presented, with three warm and wonderful performances, led from the front by Ken Paolo.

They are so expressive. Paolo is adept at wearing Xavier’s sensitive heart on their sleeve. At the same time, they are seemingly effortlessly amusing.

Hawkins plays the intellectual Sebastian with more restraint, but it is hardly all smooth sailing for his character either. Hawkins is the yin to Paolo’s yang, as the pair bounce of each other delightfully.

Rosete too impresses with his distinct characterisations of the chilled Lachie and the more serious and invested photographer Felix.

Clever but minimalist staging and props means it is left to the actors to do the heavy lifting, which they do with aplomb, including making good use of the pregnant pause.

Also effective are the costume changes, which amount to school wear, casual wear and work wear.

The set and costume designer is Amy Todd, who is also responsible for projection design.

The latter on the building block-like set insightfully shows the progression of time on a couple of occasions.

Lighting design from Spencer Herd also plays a hand in so doing.

What is equally impressive is the composition and sound design, being evocative music stings and atmospheric sound, from James Gales.

So it is that in toto, under the skilled direction of Margot Morales, Rhomboid presents as a cornucopia of emotional gymnastics that has a strong ring of truth about it.

In other words, it feels real and takes us – the audience – on a heartfelt journey.

Ninety minutes without interval, it is playing at fortyfivedownstairs until 11^th October, 2026.