The Full Monty

THE FULL MONTY; Book by Terrence McNally, Music & lyrics by David Yazbek; Directed by John Maio, Music Direction by Pat King, Choreography by Katie Kimball. Masquers Playhouse, 105 Park Place, Point Richmond, CA. 510-232-4031 or www.masquers.org. May 23 – July 5, 2008.

The derivation of the term “full monty” is questionable, but since the smash movie, “The Full Monty”, hit the screens in 1997, there is no doubt that it means “taking it all off.” In the musical stage version at the Masquers Theater in Point Richmond you will have to wait until just before the final curtain when the six wanna-be sex symbol strippers get up enough nerve to do it. While you are waiting for that scene, be content with seeing an exuberant production with an enthusiastic cast. The exuberance and enthusiasm more than make up for the less than professional voices and it seems appropriate not to expect perfection from out of work steel workers from Buffalo, New York.

Terrence McNally has Americanized the original English version, moving the locale to Buffalo keeping the story intact and plausible. After watching women, including their wives, pay $50 per seat to see professional male strippers, Jerry Lukowski (Todd Carver) inveigles five other unemployed workers to create their own “macho” strip group to earn much needed money. It is not an easy sell but they all eventually overcome their hesitancy and inexperience to form a relatively cohesive unit. The road to their opening is paved with humor and heart felt pathos. While creating much of the pathos as Jerry’s pre-pubescent son Nathan, Lucas Masch just about steals the show. He is almost matched by chubby Tucker Matthews’ multifaceted depiction of Jerry’s best friend Dave Bukatinsky.

The tone for the show is set when Dave’s wife, Georgia (dynamic voiced Sara Breindel) bursts onto the stage, with backup (Linda Woody-Wood, Sue Claire Jones, Patty Penrod) belting, “It’s a Women’s World.” Then we are treated to Buddy “Keno” Walsh (hunky Casey Bair) coming out with a full suit, deftly stripping down to a G-string that is the stimulus for Jerry and Dave starting their own male/stripper revue.

Auditions are a necessity and these are ones you will never forget. Previously, Jerry and Dave recruit their first member when they rescue suicide-bent Malcolm MacGregor (Kyle Johnson) by offering him alternative ways to commit suicide (Big Ass Rock). First to audition is “Horse” (limber limbed Wendell H. Wilson) who brings the house down with the song and dance “Big Black Man.” When, happy-go-luck, “I can’t sing or dance” Ethan (likable Greg Milholland) auditions he shows what he has to offer by dropping his pants. Without batting at eyelash piano accompanist Jeanette (marvelous Anna Albanese) intones, "Gentlemen, put on your sunglasses. We suddenly have a lot of glimmer."

Harold Nichols (Chaz Simmonds) a former plant supervisor and an accomplished dancer, is recruited to teach the crew how to dance. Harold and Dave have a charming duet “You Rule My World” referring to their love for their wives.

Anna Albanese, with the guys as backup, opens the second act with a show stopper “Jeanette’s Showbiz Number.” Kyle Johnson has his turn to shine with his plaintive tenor voice “You Walk With Me.” Actually, even though the action leads to the finale with a full monty, the show can stand on it’s own as a paean to perseverance as they work through there insecurities, develop strength of character and renew and find love.

The six-piece orchestra under Pat Kings direction keeps right up there with John Maio’s fast clip direction that uses the aisles along with the entire stage and Katie Kimball’s properly hectic choreography. Running time: 2 hours 40 minutes with intermission.

Courtesy of TheatreWorld Internet Magazine