The Full Monty

“Full Disclosure”-Good Times Review of ‘The Full Monty’

“Cabrillo Stage’s fun, raucous ‘Full Monty’ delivers the goods As a property, “The Full Monty” is not for the fainthearted. A live stage musical based on the 1997 film of the same name about laid-off factory workers who produce a full frontal male strip act to raise some cash and reclaim their manhood, it’s peppered with profanity, features various degrees of nudity, and demands plenty of singing, dancing and chutzpah from its actors. Any company that dares to put this show on the boards had better have the goods to back it up.

Fortunately, Cabrillo Stage makes all the right moves in its ambitious and entertaining production of “The Full Monty,” the first of three shows in its 30th anniversary summer

season. A lively cast, er, rises to the occasion in every respect, under the bold and thoughtful direction of Dustin Leonard. Andrew Ceglio’s choreography maintains a level of breezy audacity in the bump-and- grind numbers, but also creates specific movement for each character that helps define their personalities over the course of the show, especially the male characters nervous about their upcoming revelations; we can see them literally loosening up as the story progresses. Skip Epperson’s inventive factory wall set reveals an evolving series of indoor and outdoor spaces. The live orchestra under the baton of conductor Jon Nordgren was a bit uneven on opening night, especially in the overtures, but they should tighten up during the run of the show.

With a smart book by veteran playwright Terrence McNally and buoyant pop songs by David Yazbek, the stage production relocates the film story from the depressed north of England to equally depressed Buffalo, N.Y., where laid-off workers are scrambling to pay their bills and cling to their self-esteem after months of unemployment. Chief among these is Jerry Lukowski, played with caustic humor and heart by the dynamic Kyle Payne. A fast- talking, good-hearted screw-up who can’t keep up child support payments to his estranged wife, Pam (a sympathetic Jessica Payne, Kyle’s real-life wife), Jerry is in danger of losing co-custody of the 12-year-old son he adores, Nathan (an appealing Darwin Garrett).

As the show opens, the ladies of the town (all still employed, and supporting their husbands) are getting raucous at a local night spot over a touring group of male Chippendale strippers. (Josh Saleh is great sexy fun as the deadpan professional peeler whose act opens the show.) Meanwhile, Jerry and his buddies are bemoaning their marked-down status as former breadwinners in the vigorous ensemble number, “Scrap.” When Jerry and his chubby best pal, Dave (a funny and poignant Kevin High), sneak into the club via the men’s bathroom and overhear their womenfolk raving about the show, Jerry hatches the scheme to put on their own strip act. The hook is, they’ll be “real men” (i.e. straight and un-buffed) performing for their women.

Much of the story revolves around the challenges facing each participant. Dave not only has weight issues (he even sings a funny counterpoint to the love song, “You Rule My World,” to his stomach), he’s also been too depressed to “perform” with his frisky, devoted wife, Georgie (a boisterous Robin DiCello). Former shop foreman, Harold (Darin Dailey) still leaves for work every morning, afraid to tell his free-

spending wife, Vicki (the scene-stealing Alice Hughes), he’s lost his job. Timid Malcolm (Dan Housek, who has the sweetest singing voice in the group), still lives with his mother, and needs friends and a sense of independence.

Auditions also turn up an aging, black man called “Horse” (an exuberant Jarrod Washington, in his best Cabrillo Stage performance yet), whose soul/funk audition is a riot, despite a bum hip. Lovable young Ethan (an engaging Andrew Woodward-Willis) admits he’s not much of a singer or dancer, but earns a spot in the revue thanks to his one singular asset; we don’t actually see it, but the others’ reaction— especially the frozen awe of Payne/Jerry’s dumbstruck five-minute double-take—is the single funniest moment in the show. And the guys are egged on by rehearsal pianist Jeanette, played with brassy, showbizzy brio by Claire Hodgin.

Recommended for mature audiences, due to language and some nudity, “The Full Monty” is an outrageously funny show, one of the most successful productions in Cabrillo Stage history. But serious themes of tolerance, solidarity, and self image are also handled with crowd-pleasing dexterity— especially when Jerry rashly promises to deliver “the full monty” (complete public disclosure) in their act. The show-stopping ensemble number “The Goods” is all about measuring up to impossible standards. Another highlight (in a completely different vein) is Payne’s tender solo “Breeze Off the River,” sung by Jerry to his sleeping son.

Which brings us to the grand finale, when we become the strip club audience. And, yes, this show delivers, albeit with some sneaky lighting effects. But, hey, that’s why they call it striptease.”

“Cabrillo Stage lets it all hang out”- Santa Cruz Sentinel Review

They didn’t build the beautiful Crocker Theater on the campus of Cabrillo College to host bachelorette parties. But this summer, from inside the Crocker, you might hear that distinct audience squeal that is usually only heard at such get-togethers.

When a production of “The Full Monty” is going well, it can easily conjure up that unique squeal you know the kind, sort of like the Beatlemania screech but a tad more guttural, with sharper nails and Cabrillo Stage’s new production, the first offering in its 30th anniversary season, is pulling it off with aplomb.

The, um, cheeky stage musical opened Friday with the appropriately randy response from the largely female audience, and Cabrillo Stage again showed it can flat-out nail contem- porary musical theater.

The play is, of course, based on the famous British film of the same name. This time, though, the unemployed men who form a Chippendales-like stripper act to regain a measure of their masculinity and self-respect are Americans, Buffalo factory workers to be exact.

The ringleader is Jerry, played with appeal ing swagger by Kyle Payne, who might remind you of a young Billy Crystal. Jerry is 32, trying vainly to escape his inner street punk. He’s newly divorced and focused intently on how to keep seeing his teenaged son. Jerry’s best friend is Dave (Santa Cruzan Kevin High), a hefty fellow called a “fat bastard” by Jerry. The two eventually gather four more guys to raise money by doing what the Chippendales guys won’t do go “the full monty,” that is,

completely nude. You won’t hear from this

reviewer whether the guys fulfill that promise at the end or not. That’s why they sell tickets. But “Monty” has much more on its mind than displaying beefcake. It’s really a playful assault on the male ego, from body image to breadwinner ideal.

Some may find the play hopelessly vulgar, but I found it to be bracingly honest in nearly all aspects. It’s full of profan- ity and contains about 1,000 references, clever and other- wise, to the male anatomy. But it’s also fearless in that way. It merrily tramples through a lot of dangerous zones — the male body, female desire, racial stereotypes, homosexuality —

and it does so with no prissy euphemisms. It’s a brawny, plainspoken, dirty-minded comedy of the best kind. It’s a shot of whiskey where you might expect a wine spritzer. It’s definitely not for children or similarly tender souls.

Ironically, in a cast full of guys, two of the most memorable performances were from women. Alice Hughes presented what I thought was the greatest single song per- formance of the night, as a well-to-do middle-aged house- wife exuberantly expressing her love for her life and her man in “Life With Harold.” Similarly, Claire Hodgin was dynamite as the salty, aged showbiz burnout Jeanette, who helps the boys in rehearsals. Introducing the strippers near the end of Act Two, she cracked, “Ladies and gentle- men, I have some bad news for you. I won’t be taking my clothes off tonight.” The audience roared with mock disappointment.

Skip Epperson again proves himself to be one of this company’s finest artists with his amazing and versatile set design that really shimmers with Vegas glitz at the end.

Clocking in at three hours and change, including intermission, the production might have benefitted from some judicious editing, particularly important for a play with such a specifically anticipated final scene. But the endearing cast and the rat-a-tat-tat of funny bits throughout make this a thoroughly enjoyable adult experience.

It might even move you to squeal.

“Have A Ball At ‘The Full Monty'” -Santa Cruz Weekly

Now that we’ve seen The Full Monty, we’ve seen everything.

From the spicy curtain raiser to the bodacious closing number, Cabrillo Stage’s 30th season opener has wildly appreciative audiences shriek-laughing and whooping for more.

Deservedly so.

Nominated for nine Tony Awards, The Full Monty is the comical story of six jobless steelworkers who’ve lost their income and self-confidence. They’re feeling like scrap. They dream up a bold move to acquire big cash and reclaim their man cards—if only they can work up the nerve to bare their souls and let it all hang out. On the way, they sort through issues of friendship, self-

respect, family ties and the true measure of a man’s worth, which can’t be found in a wallet, a mirror or a G- string.

The themes feel especially relevant in this time of high unemployment, struggling families and faltering self- assurance. But director Dustin Leonard’s treatment keeps this production light-hearted, by turns hilarious, tender, tough and bawdy. It’s also chock full o’ nuts, mature themes, strong language, adult situations and frank nudity (woohoo!).

The songs develop the story well and showcase strong musical talent from leads Kyle Payne (Jerry), Kevin High (Dave) and Robin DiCello (Georgie). Especially delightful, however, are the song-and-dance turns by Jarrod Washington (Horse), last seen in Swing! and The Wizard of Oz. In these and other numbers, choreographer Andrew Ceglio plays to each actor’s strengths.

Amazing performances by Alice Hughes (Vicki) and Claire Hodgin (Jeanette) are excellent reminders of the value of seasoned performers. Hodgin could give Betty White a run for her money. And hankies will come in handy for the duet by Dan Housek (Malcolm) and Andrew Willis-Woodward (Ethan).

It takes a big man to bare all without benefit of airbrushing or a body double. None of that is available in a live production. These actors are regular men with a range of body shapes and less-than-perfect features, but they, like their characters, do what responsible men do—make a plan, show up, hit their marks and follow through—with style and great good humor.

Speaking of grace, the women in the cast, while they don’t have to go quite as commando, certainly contribute greatly to the concept of beauty and strength taking many forms. In the end, The Full Monty is not so much a story about physical appearance as it is about the definition of self-value. It’s a huge treat to see characters—and actors—applauded for their self-acceptance.

Under the baton of Jon Nordgren, conductor and artistic director, this large cast, crew and orchestra deftly handle difficult musical arrangements and complicated sets. The stagecraft is smooth and expertly invisible. The production delivers excellent value at three hours long.

Run, don’t walk, to see The Full Monty before its July 17 closing date. Be prepared to laugh yourself silly— and don’t blink.