Good Timin'

Although Good Timin' has the appearance of a solo effort, writer Ian Mclaughlin delivering a moving theatrical monologue from a stage littered with childhood keepsakes, its creator describes it as “a two-man show with one man missing and two different endings.” It's certainly true that his absent father's presence hangs heavy over the affair, the line between the two men blurring as this thoughtful consideration of the nature vs. nurture debate draws to a close.

Brought up to believe himself the son of a restless wild man who set his mother's life off course, young Mclaughlin always had difficulty facing up to his father's premature death. When he finally reached responsible adulthood, he set out on a quest for information relating to the absent parent that would see him stumble upon a series of quietly shocking revelations, some happy and some sad. They never had a relationship with each other, yet striking parrallels are to be found between the two men.

The performer remains an engaging, personable presence as he relates his story to us, only resorting to sickly sentimentality for its conclusion. Charmingly, he emphasises the similarities between his younger self and who he is now, though also sets time aside for sober contemplation of his mortality and the occassional squandering of his adult years. Despite having earned his living mainly through roles in adverts, Mclaughlin is a perceptive individual with an infectious interest in human nature. His show's subject matter could have warranted a more thorough exploration of the man's triumphs and failures, but in keeping things universal, he delivers an uplifting hour that most will identify with on some level.