The Full Monty, the Broadway musical, presented by Miranda Musical Theatre Company, currently playing at the Sutherland Arts Theatre brings the American adaptation of the classic British comedy to life, delivering plenty of laughs and feel-good moments in the intimate setting of this well-loved community theatre.
Personally, I love the suite of UK comedic stories—Calendar Girls, Pride, Kinky Boots—and, of course, The Full Monty. There’s something about ordinary people overcoming extraordinary situations that speaks to the heart. The Americans, in their typical way, have decided to rewrite this beloved British play and set it in Buffalo, NY, for their Broadway musical adaptation. While this shift brings, what I think is a weaker story, the essence of working-class struggles and hilarious antics remains intact.
The plot follows a group of out-of-work steelworkers who, in a desperate bid to regain their dignity and provide for their families, decide to become male strippers for one night only. The charm of the story lies in the unlikely brotherhood formed as they push themselves far outside their comfort zones.
Direction by Tim Dennis was solid throughout the show. Occasionally, some transitions felt slow, but overall, the energy of the cast kept the show afloat. The set, designed by Colin Peet, cleverly wove suggestive set pieces with large LED graphics to guide the audience through different settings. It was functional and added a modern touch, effectively using technology to enhance the scene transitions and keep the flow going.
Musically, the band, under the direction of Lauren Dennis—her first time in the role—was tight and on point. The show may have benefited greatly from a vocal coach. There were moments where the solo voices felt disconnected, and harmonies could have been more polished. This was a minor but noticeable shortcoming that detracted from the more musically emotional scenes. Choreography by Pamela Diaz was era-appropriate and perfectly aligned with the abilities of the performers bringing a sense of authenticity to the show.
A notable challenge with productions like this is the requirement for partial nudity, which can deter some performers. The six lead men, Geoff Stone as Jerry Lukowski, Conon Healey-Green as Dave Bukatinsky, Ellis Pinkerton as Malcom Macgregor, Stehen Halstead as Harold Nicols, Ralphy Walter as Noah “Horse” T.Simmons and Tom Tobin as Ethan Girard reflected a true brotherhood that was clearly built throughout the rehearsal process. The trust they had in each other was evident on stage, and they each brought their own strengths to their roles, eliciting hearty laughs from the audience. Their rapport was some of the strongest points of the show.
The ensemble played multiple roles seamlessly, supporting the leads with consistent energy. Special mention goes to Murray Baker, who delivered a variety of character accents so flawlessly that the audience was left wondering what his natural accent might be.
The standout of the night, however, was Anne-Marie Fanning as Jeanette Burmeister. Channeling a chain-smoking, washed-up Edna Mode, she stole every scene she appeared in with her impeccable comedic timing. Her performance alone was worth the ticket price.
While you probably won’t walk out of The Full Monty humming a tune, due to the unmemorable music, it certainly leaves you with a smile on your face, thanks to the well-played comedy and heartfelt performances.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin. Follow him on all the socials @talldancraig
The Full Monty runs for 3 hours (20 min interval) and plays at Sutherland Arts Theatre, through 29 September 2024. Tickets are available through Ticketek.
Image credit: Grant Leslie Photography