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The Full Monty |
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Author: Book by Terrence McNally,
Music & Lyrics by David Yazbek
Reviewer: Carolyn Albert for Theatre Reviews Limited |
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First thing first: "THE FULL MONTY" is a glorious delight! Yes, it is possible to sit for 2¼ hours straight with a big grin on your face! In fact, I laughed so hard, I could hardly bare it -- oops, bear it! Do the men really take it ALL off? Yep! Can you see much when they do? Nope, although my companion insisted she could see everything in that brief climactic moment when six unemployed steelworkers from Buffalo do go buff to pay their bills.
  
In my 22-year experience reviewing musical theater, I've noticed that the story provides the core of a musical's success. There are rules that must be followed. We have to care about the lead character. He (or she) has to want something that is critical to his well-being, and it must be urgent (i.e., Now!) TERRANCE McNALLY, a skilled playwright and librettist, quickly sets up the dramatic problem. Jerry, an unemployed steelworker, is about to lose co-custody of his pre-teen son, Nathan (NICHOLAS CUTRO at performance we saw) unless he pays the child support he owes.
Playwright McNally based the libretto (or book) of the musical on the 1997 hit movie, shifting the locale from England to Buffalo, New York. Buffalo offers the gray and gritty externals that reflect the grim moods of men who feel their manhood is tenuous when their skilled, good-paying jobs are gone. To these blue-collar guys, available minimum-wage jobs at the local Wal-Mart are too degrading to accept. Thus, they've either become househusbands, like heavyset Dave Bukatinsky (JOHN ELLISON CONLEE distinguishes himself with a strong, sweet tenor), or watch too much TV like Jerry Lukowski (PATRICK WILSON in a good all-around performance).
Both Wilson and Conlee are average-looking guys - and not your usual leading-man dreamboats - which is important to the story. Author McNally makes us care about Jerry and root for him to find a way out of his financial problems. The mood isn't all light and lyricism. There are edges to the story that give it a modern and realistic tone. For example, Jerry's ex-wife, Pam (LISA DATZ), plans to marry Ted (ANGELO FRABONI), who can give her the financial security Jerry promised but never fulfilled. Also, the lack of meaningful work has sapped Dave of his virility, threatening his marriage.
In a sharply written scene between Jerry and Dave with a good-looking male stripper (DENIS JONES), Jerry realizes that putting on a male strip show for the local ladies can offer a quick bundle of cash. Men whose senses of manhood are already threatened are highly unlikely to parade themselves on a stage. These blue-collar guys fear looking effeminate. The play makes a strong and clear statement about the real meaning of being a man, sexuality, and homophobia: once men like Jerry and Dave face and overcome their fears, their attitudes towards others become less rigid.
Choreography by JERRY MITCHELL focused on patterns of male behavior, transforming dancing into social statements. A highlight was the Act I finale when the guys discover that basketball moves can hold the key to dance steps ("Michael Jordan's Ball.")
McNally's dialogue provides clear motivation for most of the actions and sets up DAVID YAZBEK's punchy songs. Yazbek's pop score deserves closer examination. He wisely avoids the inanities of hard rock that has for the most part been rejected by theater-going audiences until now. His melodies are like pop jingles, light on tune. But his lyrics are gems, some with intricate and unexpected rhymes, as in the standout "Big-Ass Rock."
Nearly all of the songs in Act I are humorous, moving the story forward; even the sole ballad, "You Rule My World," is limned with humor. Only in Act II does the show have those onerous slowdowns that serious ballads require. In musicals, the ballad works only when a deep emotion is expressed that moves the character to a different level. When Malcolm (JASON DANIELEY) was joined by Ethan (ROMAIN FRUGE) in a solemn hymn, "You Walk with Me," a special relationship stirred the plot in an important direction, keeping our attention and maintaining the emotional energy of the story.
With knowing direction by JACK O'BRIEN, the story never strayed from Jerry and the men. HAROLD WHEELER's lively orchestrations enhanced Yazbek's score. Lucky audience members were able to watch Conductor KIMBERLY GRIGSBY lead the orchestra with hair-waving energy to open both Acts I & II.
The Audition scene in which various men try out to be strippers rose in hilarity to a climactic "Big Black Man" when ANDRÉ De SHIELDS entered limping and then surprised everyone with his Terpsichorean turpitude, demonstrating once again how the right performer can triumph in a single number. Watch for De Shields to lead the nominations in next spring's Tony's male/support/musical category. You may not know the name of veteran character actress KATHLEEN FREEMAN, but her face will ring bells and her sly support as a tough but lovable accompanist for the guys should make her a female contender in the same category.
Among the women, ANNIE GOLDEN has been a stage reliable for supporting roles. She uses her comic talents and pliable face and voice to make Dave's wife, Georgie, endearing. EMILY SKINNER, a co-star in "Sideshow," fills out the mature role of Vicki voluptuously. MARCUS NEVILLE was touching as her enamored and insecure hubby, Harold.
Top production values help make "The Full Monty" a winner. JOHN ARNONE's scenic designs are spare and suggestive. HOWELL BINKLEY's lighting design shimmers and ROBERT MORGAN's costumes blaze in bright colors against the muted backgrounds to suggest breaking out of traditional roles; for example, the men's g-strings are bright red. Lines and lyrics were crisp with TOM CLARK's sound design.
You don't get a musical this good every season. "The Full Monty" sets a tough standard for the rest to match.
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Produced by Fox Searchlight Pictures, Lindsay Law, and Thomas Hall.
CAST: John Ellison Conlee, Nicholas Cutro or Thomas Michael Fiss, Jason Danieley, Lisa Datz, André De Shields, Kathleen Freeman, Romain Frugé Annie Golden, Marcus Neville, Emily Skinner, and Patrick Wilson.
Theater: The Eugene O'Neill, 230 West 49th Street.
Schedule: Tuesday - Saturday at 8, Wednesday & Saturday at 2, and Sunday at 3.
Tickets: $31-86 at box office or through TeleCharge: 212/239-6200.
Audience: Mature teens and up. There is a lot of cursing, so it may not be for your tyke or tia - but everyone else will have a hell ova good time!
Notes: The O'Neill has no handicapped bathroom facilities. On the plus side, seats on the orchestra level don't cramp your knees.
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