The Full Monty
NODA North West
Author: Joe Clarke
D&S productions are back on stage this week with their production of the classic ‘The Full Monty’. Set in Buffalo, New York, this musical is very similar to that of the British film but follows the story of protagonist Jerry and his quest to make money, forge a better relationship with his son and try to get his life back on track from unemployment. Taking the helm as a first time Director, Kriss Hubbard did well. On the surface, this show was very entertaining throughout. It had bundles of energy, pace and brilliant comedy moments. As a plot-based musical, a lot of the tender and serious moments were lost, which impacted on character development and the character arching journey. Visually, this show was great. The use of set, with curtains etc was great, which helped with the overall pace and the staging was great throughout too. I really liked the staging of scenes, particularly the toilet scene when Jerry and Dave broke into the building. The staging of the bedroom scenes were great too (I loved the synchronicity), and the staging for the main bulk of scenes was brilliant. The costumes were great also and I really liked the individual styling for each character. From an acting point of view, there were times when the main cast were singing to the audience, breaking the fourth wall (when we weren’t used as the audience in the stripping scenes) which is a major flaw for me. I also question some of the overacting from some cast members which negatively impacted on characterisation, truth and believability. This was evident in the character of Keno; amongst others. I also question the styling and seriousness of the vicar at the funeral. As I mentioned above, as a funny comedic show about strippers, with added, brilliant vocals and entertaining dance routines, this show ticked all of the right boxes and the audience members around me were very entertained throughout.
The musical direction was fab! I loved the band, and despite being in a separate building, I definitely couldn’t tell. The sound levels of the band were a little too loud for me, but I suspect this could be down to the quality of the speakers or the acoustics in the venue, rather than the levels themselves. All band members played very well throughout. It’s a shame there weren’t more harmonies etc (in the score) from the whole ensemble as the bits that we could hear, sounded fab. Well done to Musical Director Craig Price and team for your efforts.
There wasn’t much choreography in terms of full-on dance routines, but I loved the more subtle movement bits throughout which added to the overall humour and staging. This was evident in Harold and Vicki’s Cha Cha practice etc. I have to say that the choreography for Michael Jordan’s Ball was brilliant and one of the standout moments of the show! Well done to choreographer(s) Charlotte Allmand and John Sprung-Murphy.
The lighting design was a little basic for me, but this show really didn’t need anything too spectacular. The lighting stage for the final Full Monty performance ‘Let It Go’ was well done and well cued (Damn you)! The sound quality wasn’t too spectacular either. At times, mics were not cued on time and some mics left open a little too long which meant we heard whispering and heavy breathing, but I highly doubt many of the audience members even noticed this.
This score is a hard sing for anyone playing the leading role of Jerry Lukowski, but actor, Soloman Adams made it look effortless. It’s clear that Soloman has great vocal talent and this was a great showcase for him. Whilst I didn’t get the emotional depth from Solomon, nor believe his connection with his son, I loved his overall performance. Soloman was well cast, and I loved his rapport with Dave – which is fundamental for this musical.
Damian Riverol, as Dave, had some lovely moments throughout. I really enjoyed his rapport with both Jerry and his wife Pam. For me, Damian really needs to work on diction and annunciation more, especially for future productions. Damian had some great one liners with great comedy timing. His vocals were lovely too. ‘Big Ass Rock’ was great!
Chris Doyle was brilliant as the depressed Malcolm. Chris was able to showcase some stunning vocals too and I really believed Malcolm’s relationship with Ethan. Ethan was brilliantly played Kyle Hickman. Both Kyle and Chris worked cohesively throughout, and both delivered a believable and natural performance! ‘You Walk With Me’ was beautifully sung!
I was a little underwhelmed with ‘Big Black Man’, as it’s normally a showstopper, but I did enjoy the overall performance from Courtney Gabbidon (Horse). Despite underplaying this role, Courtney had a good air of suaveness and sex appeal which aided this character.
Mike Jenkinson-Deakin was fab as Harold Nichols. Mike gave a naturalistic and believable performance and was able to showcase some great comedy skills and lovely vocals too.
I also loved the comic timing and line delivery from Joy MacIntosh as Jeanette. Jeanette commanded the stage in every scene and was entertaining throughout.
The women in this production get the short straw in terms of songs and scenes, however they are important to storylines and fundamental to the plot. Donna Dale was fab as the extravagant Vicki Nichols (Life with Harold was fab)! Gemma Walker had some lovely moments (with Dave) as Pam Bukatinsky. ‘A Woman’s World’ was brilliantly sung, staged and performed. For me, Sheryl Dean was a little too angry, with a lack of light and shade as Jerry’s estranged wife Pam Lukowski, which made the character unlikeable.
Overall, this was an enjoyable and entertaining night at the theatre. The vocals from the main cast were brilliant and from an entertainment point of view, this was a good production. I thank D&S productions for their wonderful hospitality (Chris Mellor), and I wish them every success for their next production of Calendar Girls The Musical in October 2022 at The Brindley Theatre, Runcorn.
North West End
Feel good and full of laughs, The Full Monty provides a great night out for those who enjoy raw humour, a variety of on-stage approaches and acknowledgement of the audience. Based on the hit film and Broadway Musical, D&S Productions’ The Full Monty brings its own stamp to the show, and all for a charitable cause.
It is clear this company are having fun performing this!
Content is designed for an adult or 14+ audience. There is swearing, sexual references, suicide references, racial references and nudity throughout the performance and some of the reactions of the audience are best heard by teens and above only. It’s also worth noting that the scripting, although parody in some aspects, may cause offence and must be considered within the time and context of the characters.
Opening in a manner where the cast and audience are almost inseparable, a presenter welcomes guests as if they are within a club. Gaggles of women stand either side of the theatre, giggling and calling out as a centurion struts on stage and this sets the tone of light-hearted fun for the night ahead.
At first it wasn’t clear whether this is the cast or not. However, opening in this way loosens up the audience immediately and was cleverly looped back around to at the end of the show, when it certainly wasn’t just the cast calling out.
The plotline for The Full Monty is set in the US and follows six unemployed steel workers in Buffalo, New York. None have a job, money or prospects. Jerry (Soloman Adams) needs to earn some money in order to keep seeing his son so convinces his friend Dave (Damian Riverol) to join him in stripping. They then recruit severely depressed Malcolm (Chris Doyle) and Harold (Mike Jenkinson-Deakin) before holding hilarious auditions for the final two spots in their six.
Joy McIntosh does an excellent turn as Jeanette Burmeister, with expert timing and a knowing camaraderie. It’s during these auditions we’re introduced to Horse (Courtney Gabbidon) and Ethan (Kyle Hickman), who both had a penchant for chemistry with the audience when performing and an inspirational repertoire of dance moves.
The six leading men showed great cohesion. They hold a clear rapport with each other on stage and this ensures complex dance routines and songs can be performed effectively – their rendition of ‘Michael Jordan’s Ball’ is not to be missed!
Although it’s a light-hearted show overall, the sub-plots of how unemployment is affecting each of them and the pressures each one faces brings a sensitivity to seeing The Full Monty as a stage show. This aspect came across on stage in a way that the film doesn’t capture as clearly.
As the men prepare to bare all, the audience witnesses their emotional and physical peaks and troughs. We see the way no money impacts day-to-day lives, the way love can blossom from tragedy and the way six men who were all struggling alone at the start, become each other’s support network through the united focus of stripping. Whilst on the surface they’re stripping for the one big pay out, as the show progresses the desperation for both the purpose and the pay out come to the fore.
With plenty of laughs and a feel-good factor underpinning some serious themes, The Full Monty by D&S Productions has good singing, great dancing and promises you’ll leave the theatre smiling. The Full Monty is showing 11th-14th May 2022 at The Gladstone Theatre. Keep up to date with their activities on Instagram and Facebook.
Reviewer: Ezzy LaBelle
Reviewed: 12th May 2022
