The Full Monty

The show opens with a couple of scenes which open up a handful of important themes which the show will go on to explore: the changing nature of the world of work and the attendant shifts in stereotypical gender roles in an ever-changing society are ideas which underpin the show's thematic thrust from the outset. Notions of sexuality, gender, masculine and feminine stereotyping, the relationships between husband and wife, father and son etc are all thrown up as the show begins and are looked into throughout r the course of the production.

This was a heartfelt production under the talented direction of Sami Underwood who clearly brought out the best from her cast and crew. 

Heading the cast was James Kenneth, who took on the mammoth role of Jerry, the leader of the gang. A huge undertaking for any performer, James won the audience round and gave a very committed performance. His scenes with Brad Boxall as Dave were particularly strong; both performers worked well together to create a real sense of spiky camaraderie. 

Brad endowed his character with a solid believability and charm, conveying Dave's marital worries sympathetically. I really enjoyed this interpretation of the character which can so often be somewhat over the top. Excellent team work delivered here.

Phil Cable brought out the comedy in the role of Malcolm effectively and yet still captured the character's hidden depths, giving a performance of humour, charm and grace. Well done.

Matthew Juggins was a bouncily likeable Ethan and the burgeoning relationship between Ethan and Malcolm was well played and well judged. In fact, the stand-out musical number in the show for me was 'Walk with Me', due in no small measure to their performance: a song which with less capable handling could have strayed over from endearingly sentimental into mawkishness very easily. 

Jim Markey brought a superbly deadpan humour to the role of Harold and his stage experience showed when knitting the boys together to become 'Hot Metal'. A masterclass in characterization and commitment. 

Tony Khublall as Horse completed the line-up of stripping steelworkers. A firm favourite with the audience with his witty one-liners and nifty footwork. 

As a team, the men worked well together, creating well-rounded characters and managed to work wonders with the rather workaday book and musical score.

But what of the ladies? Michelle Fisher as Georgie and Kate Ayres as Vicki both gave very strong performances as the wives of Dave and Harold. Kate provided another musical highlight with her ballroom 'Cha Cha' and Michelle really breathed life into Georgie, dominating her scenes with real strength and power - excellent. 

Joanne Cable had a huge task on her hands as Pam, Jerry's wife: the piece asks a lot of her character as she has to convey a multitude of artistic ciphers - her character is given the task of representing the roles of mother, ex-wife, fiancée as well as the generic 'everywoman' – and Joanne carried it off with aplomb.

Smaller cameo roles were also brought off adroitly by a capable and versatile cast. Daniel Goode as the unsympathetic Teddy once again showed how versatile he is as a character actor also playing a rather well-oiled minister.

Jerry's son, Nathan, was well played by George Anderson - a rather thin and thankless role which George did well to bring to life. Good, clear, diction and projection. I could hear every word.

Hayden Boxall proved a winner with the audience as Buddy Walsh, the male stripper who got the ladies of Buffalo - and me, all a-quiver with excitement. A young man of considerable ability, Hayden can clearly tum his hand - and other parts of his anatomy - to anything. Great fun, well done.

Lee Baddock made a convincing shop steward Reg.

Effortlessly stealing every scene she was in, was Sue Hantke as Jeanette. In a superb performance, Sue managed to spin the rather lifeless straw dialogue into comic gold with her interpretation. 

Estelle, (Natasha Easton), Susan (Alli Brown) and Joanie (Joanie) completed the line-up with bubbly portrayals of Buffalo girls.

Technical support was first rate and the show moved along with pace and energy, helped along by a flawless lighting plot and experienced direction. I thought the reveal at the back of the studio stage worked well but the shimmer curtains on either side of the stage were different lengths and this deferred from the design of the set. Sight lines were good. 

Andy Merrifield's three-piece band were on fine form and in the case of this show, not once did the music over shadow the singing. Andy managed to make the score sound better than it deserved

For me, 'The Full Monty' is a musical which has the potential to say something meaningful and worthwhile, raising many themes and ideas in its opening scenes which never really get the intelligent airing or the resolution that they might, which is a shame. Nevertheless, the society did a superb job in bringing the show to life and the full house on the afternoon I attended certainly went home happy.

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