Intimate storytelling backed by a refined rock monologue defines writer and performer Connor Morel‘s (Lord of the Rings: A Musical Tale, Elvis: A Musical Revolution) new show Good Man.

Drawing an unmistakeable inspiration from Jonathan Larson’s tick, tick…BOOM!, Morel presents a seamless flow to his story about meeting his father for the first time at 17 when his dad turned up unannounced to one of his gigs. The “tick, tick” here is the tense countdown that breaks up Morel’s story leading up to this fateful meeting, and the BOOM! lands when the two come face to face.

Morel’s vocals are gorgeous to listen to. From soft falsetto to soaring rock, there’s a range on display here. Think the tone of Andrew Lloyd Webber‘s Jesus Christ Superstar in quality. Backed by a live band with Ben Cook on bass, Xena on guitar and Jake Pickering on drums, Good Man explores the importance of choices. The choices we make and those we don’t. To live is to choose, and to choose is to live, Morel tells us.

When it comes to the climactic meeting, the culmination in choices doesn’t quite come full circle as anticipated. The dialogue about choices and paths found in moments in his story can feel a bit stunted, but there’s also a refreshing honesty and reflection to his former naivity in youth.

There’s a beautiful comfortability to Good Man; though the piece is new, it feels lived in. Direction by Sarah Frencham and Casey Gould sees Morel move in and around the instruments, cleverly placing two guitars either side of the space for him to pick up and play as he creates spaces in the story with ease. His words create images with clarity that truly draws you into the piece.

Good Man runs for a short season throughout the Adelaide Fringe, but as a testing ground for this new work, it’s definitely one pop onto your list for new Fringe shows to see.