The Full Monty (2006)

Reviewed by Holly Bartges

So successful was the run last year of The Full Monty, adapted for the stage by Terrance McNally with music and lyrics by David Yazbek, The Arvada Center for the Arts and Humanities brought it back.

Anthony Holds (Jerry) with Eric Leviton (Dave) in the Arvada Center’s 2006 production of The Full Monty. Photo: P. Switzer

Directed by Rod A. Lansberry, there is something very different about this year’s production that can be seen and felt instantaneously. A sense of humanity runs deep throughout the cast establishing a magical cohesiveness permeating throughout the entire Main Stage Theatre.

The Full Monty dives head first into the lives of six out of work steel workers in Buffalo, New York. Desperate for work and money, the play reveals the individual inner turmoil while fear and anxiety eat away at their hungry soul.

One in particular sets the bar high in character development and expectation. Maybe it is because he has the most to lose as Jerry Lukowski. Making his Arvada Center debut as a single dad, Anthony Holds, a New York-based actor, wears his heart on his sleeve turning his soul and spirit inside out for all to witness.

Not only has his paycheck come to a grinding halt, Jerry is forced to come up with $700.00 a month for joint custody of his son, Nathan. Pam deliciously played by Gayle Holsman. Two young actors share the role of Nate: Nick Lormand and Noah Wilson. Having lost patience with Jerry for his irresponsible behavior, Pam finds comfort and security with Teddy Slaughter elegantly portrayed by DP Perkins. Elegantly because there is one scene in particular, when Pam is at the police station supposedly alone singing Maid of the Mist, a haunting introspective melody, when Teddy appears in the doorway. The scene lasts but a moment, but the power spilling out across the stage connecting these to people is breath-taking.

Los Angeles actor Eric Leviton reprises his role as Dave Bukatinsky, Jerry’s out of shape overweight best friend. Leviton grabs Dave by the throat wearing him with ease as Dave struggles with his physical image, insecurities about grabbing the bull by the horns, playing it safe, or taking an undeniable risk, while grappling with honesty with his overly organized gregarious wife, Georgie played with strength, humor, and power by Anita Boland.

While The Full Monty prides itself on its sense of humor calling itself a comedy, pushing desperate out of work men to the limit gambling on the prospect of presenting a striptease and charging $50.00 per ticket, there lies under the covers and beneath the clothes the incredible point of taking risks, feeding the creative tube, solving an apparent insolvable problem. Desperation can either wipe people out of hope and ingenuity or unlock a door no one else could see much less know where the key can be found.

Jerry’s love for Nate and desperation carries him to the unthinkable idea of holding a striptease. Holds allow the audience to see this for real.

Brian Kelly takes Harold Nichols for a near out of control waltz. A supervisor in the steel mill, Harold has also lost his job, living on a whirlwind of pretense. His wife, Vicky lives in a dream world of nice things, the best life has to offer, and the best clothes, the best trappings, and the best vacations money can by. Harold feeds her desire for providing the best out of fear of losing her. He walks an unnerved tight rope.

One of the most poignant moments in the musical is the scene when Harold and Vicky’s luxurious bedroom stands opposite the stage of Dave and Georgie’s bedroom, and Dave and Harold sing the duet “You Rule My World.” Flirting with depth and heartbreak, cutting into a slice of humor, it rules the moment.

Reprising his role as Noah “Horse” T. Simmons, Milton Craig Nealy commands attention. During their unthinkable auditions, in walks a decrepit old man who can barely stand, much less walk. They take him as a joke until he rattles their cages with stiff toe tapping and the awesome song “Big Black Man.” He’s more than a crowd pleaser he’s an artist.

Local actor, Scott McLean adds a special touch as Ethan Girard. No, Ethan can’t dance and can’t sing admitting it freely, but has a quality that knocks everyone out. Ethan can’t dance and sing, but McLean is an accomplished dancing machine. Obsessed with a scene in a movie he once saw, of a dancer dancing up the walls, Ethan is determined to repeat the stunt even if he breaks his neck, which he just about does, at the same time demonstrating determination goes a long way.

For the auditions, Jeannette Burmeister appears out of no where, coming out of retirement to accompany the men, to give them appropriate critiquing, serving as a self-appointed cheering section, and to blow them away. Jeannette may blow away the men, but Wendelin H. Harston blows away the audience with her rollicking personality blown into Jeannette, her outlandish costumes, and her big voice, which she struts before God and everyone in Jeannette’s “Showbiz Number.”

Nan Young choreographs this large cast of exquisite performers with a creative energy that rocks the stage. Gail J. Gober designed the lighting that absolutely must work every performance at the most crucial moment of all; the very last, or the impact of the entire production would fall to pieces. The lighting so crucial one can’t wonder if somewhere in the universe, the lighting actually failed. Joseph J. Egan designed the appropriate set that works well, fits well, and adds to the ambiance The Full Monty requires.

Deep into rehearsal, Jerry on impulse decides, a strip tease isn’t enough. The show needs more, requiring them to go the Full Monty, sending everyone into a clutch including Jerry at the last minute. Above and beyond what he wants most is to be a great dad. When he thinks he has failed, his courage melts in a puddle at his feet. It takes a small voice to strikingly remind him otherwise.

There are 28 cast members all with distinct well-thought out personalities, coming together as a unit, working hand in glove, providing plenty of honest laughs, revelatory giggles, recognizable moments of smiles, and pungent internal conflicts.

The live orchestra with David Nehls as conductor on the keyboards, Keith Ewer on percussions, Richard Chiaraluce on woodwinds, Terry Sawchuk on trumpet, Scott Alan Smith on guitar, and John Cullison on bass, the music reverberates throughout the theatre with a life of its own.

The Arvada Center’s production of The Full Monty is simply a phenomenal production of incredible talent, a comical inspiring musical, a cohesive artistic endeavor from the moment the rowdy ladies including Joanie Lish (Michele Sergeeff), Estelle Genovese (Heather Fortin Rubald), Molly MacGregor (Billie McBride) interrupt the recorded announcements before the house lights dim to tantalize and play with audience members to The Full Monty’s revelation of strength, power and courage. And bright lights responding to their cue, to a couple of hours of pure honest fun, this is a production not to be missed. This is one of those times when the Arvada Center reaches for the moon, grabs it, wraps it up, and lays it before the audience saying, “Enjoy.”