This urban ghost story by Michael Wicherek is outstanding from every angle you look at it.
Truly, from its bare evocative stage set that subtly changes with the scene’s mood and setting, to the snatches of music that ebb and flow in and out of the performance, Time for the Good Looking Boy creates an atmosphere that has the hairs on the back of your neck raised and your eyes fixed upon actor Lloyd Thomas.
The play begins with Thomas arriving home from a house party, where he’s had a falling-out with his girlfriend, only to find himself unceremoniously locked out. Stuck outside alone, he blusters around the stage with a streetwise swagger fielding his anger through bursts of dialogue and rap. This is not a tough thug in front of us but an incredibly likeable young man, whose boyish lopsided grin comes out whenever he speaks of his family or friends and, particularly, when he talks about Sammy, his girlfriend. This tenderness and sincerity of feeling gives the play its understated brilliance, with the words weaving seamlessly to Jon Nicholls’ original soundtrack in the background.
Thomas guides us through his night, articulating and elucidating the events that have led him here. Subtle clues point throughout to the fact that this is no ordinary encounter and, as the tale unfolds and events spiral out of control, one feels that uncanny feeling in the pit of their stomach that this play is not going to end the way you’d like it to. Thomas gives an absolutely captivating one-man performance in this play that is pitch-perfect in every level of its production. This is an enthralling piece that must be seen.
Time for the Good Looking Boy, Pleasance Dome, 4-29 Aug (not 15 or 23), 2.50 pm
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