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Here is what women think that men think about their own bodies: that they are all, no matter how portly or scrawny, aging or out of shape, God's gift to us. That may be part of the reason The Full Monty has been such an audience pleaser since it began life as a 1997 British film. And the current Gateway Playhouse production at the Patchogue Theater is chock-full of charm.
Here are some unemployed blue-collar guys in Buffalo actually concerned about what people will think of their naked bodies. Dave (Tad Wilson) knows he's fat. Horse (Kingsley Leggs) is afraid he won't live up to some people's stereotypical expectations of a black man. Harold (Bill Kocis) has the look of a mild-mannered bank clerk, dressed or nude.
The reason for this planned nakedness is economic. Dave and his pal Jerry (Charlie Pollock) have been jobless for almost 18 months. Jerry, in particular, needs money because he is behind on his child-support payments and is afraid he will lose his son to his ex-wife, Pam (Julie Dingman Evans), and her live-in boyfriend, a white-collar guy who takes Pam on Cape Cod vacations.
Appalled at first by the women in town going to a Chippendales-style male strip show, Jerry comes up with the idea of putting together a show of his own, with Dave and anyone else they can dig up. (The idea of going "the full monty," British slang for total nudity, occurs to him later out of desperation.)
Show Biography - Full Monty
They recruit Malcolm (Andy Jobe) while he is trying to commit suicide. They persuade their former boss, Harold, to join the group. They hold auditions, during which Ethan Girard (Nick Dalton) announces his intention to dance up the side of the wall like Donald O'Connor in Singin' In The Rain. He fails and he can't sing, but he has other assets.
The real find is Horse, who, despite looking "60 if he's a day," as Harold observes, impresses everyone with "Big Black Man." This number, which might be described as James Brown with a bad back, has been the showstopper since Andre deShields first performed it on Broadway in 2000. The appropriately named Mr. Leggs is outstanding.
Turning nonmusical films into musicals is not always a great idea. (May the musicals Carrie and Lolita rest in peace.) But David Yazbek's music and lyrics enhance Simon Beaufoy's original story and its obvious affection for the characters.
The finale, "Let It Go", and Jerry's ballad "Breeze Off The River" are terrific in very different ways. The women's musical numbers are much less satisfying with the exception of "Jeanette's Showbiz Number," in which the pianist (Gerianne Raphael), who has been around so long that Bing Crosby once tried to seduce her, recalls the old days. ("This gig's an echo/Of that time with Buddy Greco.")
There were sound problems during the performance I attended, but they seemed to have been eliminated by Act II. Kelly Tighe's sets are note-worthy. Patrick Q. Kelly's musical direction is admirable. (I especially liked the way the men punctuated their anger with the metal chairs in "Scrap," their song about the indignities of unemployment.) And the director, Keith Andrews, must have done a lot of things right.
Does the Patchogue cast keep its promise and live up to the show's title? Let's just say that the lighting people have to have split-second timing to make the final moment work. And they succeed.
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They recruit Malcolm (Andy Jobe) while he is trying to commit suicide. They persuade their former boss, Harold, to join the group. They hold auditions, during which Ethan Girard (Nick Dalton) announces his intention to dance up the side of the wall like Donald O'Connor in Singin' In The Rain. He fails and he can't sing, but he has other assets.
