People will automatically compare James Millar and Peter Rutherford's LoveBites with their successful, landmark debut with The Hatpin earlier this year, but this latest work from the duo is far from a follow-up.

Indeed, it's nothing like the dark, murky waters of their previous work; instead it is a light, fluffy though often emotional piece about love - finding it, keeping it and getting rid of it.

That's not to say LoveBites doesn't pack punches, because there's plenty to talk about here, including the emerging star Tyler Burness, a shining light throughout the 90 minutes this show runs.

LoveBites is a song cycle more than a musical, going through different scenes and introducing various couples in the throes of love. In the first act, we see how each couple got together, and in the second the fast forward button has been hit, to see where things ended up.

It's an interesting concept. After all, love stories tend to be about the chase and the happy ending, with very little focus on what happens in the end. Here, we get to see relationships come full circle and the best part about it all is that it's fun, light-hearted and enjoyable.

The material itself is stronger in the first act, though there's some tear-jerking moments in the second stanza, including a beautiful and haunting solo from Octavia Barron-Martin, 'Give It To The Breeze'.

There's some particularly good moments throughout. The story of James and Daniel meeting in the library, and its follow-up in the second act with the song 'Setting The Date' is some of Millar's best writing, while 'If My Name Was Harvey', sung by Millar himself in the first act, matches it in strength.

When it comes to humour, 'A Plastic Bag' and its second act follow-up 'When You See Someone's Shit' takes the cake - it's pure laugh in the isles kind of stuff.

Performance wise, there's an interesting twist to what one may expect. Audiences are obviously familiar with Millar and Barron-Martin given their impressive theatrical CVs, and both give stellar performances throughout (Millar's comic timing remains under-rated and under-utilised in this country), but it is the performances of newcomers Sarah Croser and Tyler Burness that shine most.

Burness, with his boyish good looks and charming voice, is a revelation. He bursts into the show in the first scene with plenty of energy, and builds up to wonderful vocal performances in 'Book Group' and 'Setting The Date', keeping up an addictive style that will ensure he has a huge future ahead of him. He's got romantic lead written all over him, let's just hope the right vehicle arrives.

Croser, a graduate of the Western Australian Academy Of Performing Arts, is best in her scenes that cross her haunting and beautiful vocals with her acting skills - particularly 'The Captain Has Turned Off The Fasten Seatbelt Sign' and 'A Plastic Bag'. There's an opportunity for her to have a show-stopping solo early in the second act with 'Quiet And Simple', but unfortunately she's robbed of this by some distracting direction of the rest of the cast, who fumble around behind her unnecessarily.

With an impressive cast, a simple but effective set, superb accompaniment from Peter Rutherford and writing that Australian theatre should be proud of, LoveBites deserves to do well. It's the kind of show that, if you're in a relationship, makes you call your loved one and remind them how much you care, and if you're single, it's likely to make you sign up to the first dating website you can find.

LoveBites is by no means a show for the ages, but it's a good romp through the crazy world of love. It's a solid one night stand, though commitment might be another thing altogether.