It seems only fair that a theater review should feature a fractal image having to deal with stars--hence I present Star in a Star for your dining and dancing pleasure.
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Last Saturday night (March 3) Robyn and I saw the Musical Theatre West production of The Full Monty with our friends Alison and Eris Young and Don and Andrea Pitzenbarger. This musical follows the plot of the original British movie of the same title, transferring the action from the English Midlands to Buffalo NY. Jerry Lutowsky is an “average” blue-collar guy who has been laid off after his steel mill closed. Divorced and behind in his Child Support, Jerry hits on the idea to make some fast money by staging a one-time only show where he and a bunch of his buddies will outdo a troop of professional male exotic dancers b showing “everything” off. (It’s the “Full Monty!” Get it?) Can this motley band of literally “get their act together”? Can they regain their self-esteem by showing off "the goodds" to an adoring crowd? You’ll have to go see the show (or rent the movie) to find out . . .
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John Bison brings decent acting chops to his lead role as Jerry but lacks the paint-peeling intensity needed for the heavy rock numbers the composer pens for Jerry. He dances as well as anyone although (like most of the cast) he’s really to well-sculpted to really be believable as an “Average Joe.” He acting is fine but the script doesn't give him all that much to work with.
John Bison brings decent acting chops to his lead role as Jerry but lacks the paint-peeling intensity needed for the heavy rock numbers the composer pens for Jerry. He dances as well as anyone although (like most of the cast) he’s really to well-sculpted to really be believable as an “Average Joe.” He acting is fine but the script doesn't give him all that much to work with.
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John Massey Jr., as Jerry's best buddy Dave Bukatinsky fares better: his musical numbers are more melodic and his character is entirely more sympathetic than Jerry. Watching him shove his not considerable bulk around state is amazing--particularly to a “chubby cubby” like me: he wonderfully kultzy when he has to be but still manages to keep up when good dancing is required. I have to commend the guy for his bravery: it takes a lot of guts to play a part like this and even more to spend that much time on stage wearing that little: I couldn't do it.
John Massey Jr., as Jerry's best buddy Dave Bukatinsky fares better: his musical numbers are more melodic and his character is entirely more sympathetic than Jerry. Watching him shove his not considerable bulk around state is amazing--particularly to a “chubby cubby” like me: he wonderfully kultzy when he has to be but still manages to keep up when good dancing is required. I have to commend the guy for his bravery: it takes a lot of guts to play a part like this and even more to spend that much time on stage wearing that little: I couldn't do it.
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The rest of the cast fares well with what little they are given: most parts are barely sketched by author Terrance McNalley. The women particularly suffer in this show--but, then again, it’s not their story. 11 year-old Quintan Craig does well in the part of Nathan--a precocious kid, wise beyond his years (the sort never seen in real life). John J. Todd deserves mention (if only because he’s so pretty) has fun with his part as a ‘professional stripper. Mary Jo Catlett is loads of fun as Jeanette--a spicy senior citizen who comes out of retirement to play piano for the boys and drop the occasional zinger. Kudos to the dancers who transform themselves from stumblebums to Broadway-style “hoofers” at the turn of a plot and actually make us believe it.
The rest of the cast fares well with what little they are given: most parts are barely sketched by author Terrance McNalley. The women particularly suffer in this show--but, then again, it’s not their story. 11 year-old Quintan Craig does well in the part of Nathan--a precocious kid, wise beyond his years (the sort never seen in real life). John J. Todd deserves mention (if only because he’s so pretty) has fun with his part as a ‘professional stripper. Mary Jo Catlett is loads of fun as Jeanette--a spicy senior citizen who comes out of retirement to play piano for the boys and drop the occasional zinger. Kudos to the dancers who transform themselves from stumblebums to Broadway-style “hoofers” at the turn of a plot and actually make us believe it.
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The sets are rather abstract--a bit unusual considering the other productions I’ve seen done by Musical Theatre West but they work for this show. The lighting and costumes are adequate but there was some problems with the sound mix on the night we saw the show--particularly in the first half of Act One. Stephen Glaudini’s direction doesn’t look forced and keeps things flowing smoothly. The music, helmed by Allen Everman II, is a good as any professional show (maybe better since he has more band members to work with). Lee Martin’s choreography is always fun to watch.
The sets are rather abstract--a bit unusual considering the other productions I’ve seen done by Musical Theatre West but they work for this show. The lighting and costumes are adequate but there was some problems with the sound mix on the night we saw the show--particularly in the first half of Act One. Stephen Glaudini’s direction doesn’t look forced and keeps things flowing smoothly. The music, helmed by Allen Everman II, is a good as any professional show (maybe better since he has more band members to work with). Lee Martin’s choreography is always fun to watch.
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The real stars of the show though are the songs by David Yazbeck. Man “borrows” a hook from the old “Marlboro” jingle while sketching both Dave and Jerry’s personalities in one number. Big Ass Rock manages to make attempted suicide funny. Life With Harold (just about the only female solo in the whole show) is a fun number about a woman blissfully oblivious to her husband’s dire financial state. Michael Jordan’s Ball likens sport to dance while songs like Big Black Man and The Goods are sly social commentary. You Walk With Me is a haunting duet sung beautifully by Malcolm and Ethan (Kevin MacMahon and James Leo Ryan). The music seems deceptively simple but the rhythms and harmonies (not to mention the killer range) make them challenging to sing.
The real stars of the show though are the songs by David Yazbeck. Man “borrows” a hook from the old “Marlboro” jingle while sketching both Dave and Jerry’s personalities in one number. Big Ass Rock manages to make attempted suicide funny. Life With Harold (just about the only female solo in the whole show) is a fun number about a woman blissfully oblivious to her husband’s dire financial state. Michael Jordan’s Ball likens sport to dance while songs like Big Black Man and The Goods are sly social commentary. You Walk With Me is a haunting duet sung beautifully by Malcolm and Ethan (Kevin MacMahon and James Leo Ryan). The music seems deceptively simple but the rhythms and harmonies (not to mention the killer range) make them challenging to sing.
But do you get to see the “Full” Monty? I hear you cry. The simple answer is “yes” (but everything is carefully back-lit so decency is preserved). That being said, the show has more “moons” than Jupiter and plenty of raw language sure to offend those of delicate sensibility. This is no “Rogers and Hammerstein” musical that’s for sure but neither is is bombastic crap like so much of Andrew Lloyd Webber. This show is a good mix of fun and pathos that proves to be a thoroughly enjoyable evening.
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FINAL GRADE: A
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