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The Full Monty

Author: Ian Thompson

Information

Date
12th October 2023
Society
Brierley Hill Musical Theatre Company
Venue
Brierley Hill Civic Hall
Type of Production
Musical
Director
Chris Psaras
Musical Director
Richard Ganner
Choreographer
Sally Evans and Rhi Luckins
Written By
Book by Terrence McNally, Music & Lyrics by David Yazbek

In my humble opinion, one the travesties of Musical Theatre is the juxtaposition of the much heralded film of “The Full Monty” and its association with the demise of steelworkers in Sheffield against the stage version set in Buffalo New York – the scenario and storyline are similar but I feel that somewhere along the line, our musical theatre companies would relish the opportunity of a gritty, northern account of a British institution re-living the industrial struggle of the 90’s. In saying that, Chris Psaras’ no-holds barred production of Brierley Hill Musical Theatre Company’s “The Full Monty” dispelled my misgivings from the off.

As we get introduced to the eclectic Buffalo Steelworkers we meet best friends, ‘Jerry’, the lynchpin of the group, and left in the capable and talented hands of Andy Skyrme, and ‘Dave’, the self-deprecating and insecure plodder, realistically brought to life by James Lawley, ponder their current situation along with fellow former steel mill workers. The energy and style of the production is put front and centre with Sally Evans and Rhi Luckins creative and superbly executed opening number “Scrap”, warmly appreciated by the expectant audience.

In contrast, the newly upgraded status as the sole breadwinners for the family, wives and partners celebrate by attending a Chippendales performance,  is celebrated with equal talent and finesse who in equal measure gives a powerful and deeply moving portrayal by Meg Luckins of ‘Georgie’, Dave’s long-suffering wife, who accompanied her friends and support group, played with all they are worth by Jess Bradley-Hughes’ ‘Susan’, Nichola Haynes ‘Joanie’ and Kate Laws’ ‘Estelle’ give a full throttle rendition of ‘It’s a Woman’s World’ – all credit to Musical Director, Richard Ganner, and a hard-working and utterly integral band, getting exactly the right feel for the musical numbers.

Jerry’s complex homelife id brough sharply into focus when we meet ‘Pam’, Jerry’s ex-wife, a stellar performance by Katie Pullinger, who manages to manipulate the audiences’ emotions eliciting collective sympathy for her situation at certain times and sometimes anger with her tough love approach regarding child support payments at others. The one bright light in their relationship is their son, ‘Nathan’ who tries hard to mediate between his disparate parents, executed with great maturity by Finley Skyrme (Andy’s own son) at the performance that I was privilege to witness but also, no doubt, played with equal compassion by Lucas Barker, as the two boys shared the role.

After talking to the stripper ‘Keno’, played with great confidence and panache by Nick Aston, ‘Jerry’ and ‘Dave’ are amazed at the willingness of women to pay to watch male striptease performers and ‘Jerry’ decides to form his own troupe in order to be able to pay his child support. He sets out on his recruitment drive – first contender is ‘Malcom’ the loner, security guard from the mill, who ‘Jerry’ drags from his car having tried to commit suicide – played touchingly and convincingly by Ben Cooper as we go from no-hoper to outrageous extrovert.

Next, it’s former foreman, ‘Harold’, played by Steve Homer and filling the shoes of the hen-pecked husband to perfection, especially when under the thumb of his overbearing wife, ‘Vicki’, played by Jess Skidmore, with great relish. Auditions also bring forward Ethan, an aspiring song and dance man, the part seemingly written for the talented James Callaghan, and ‘Horse’ who talks a good dance, but a touch of arthritis holds him back, although when in the capable hands (and feet!) of Chas James, you know that star quality will shine through.  Completing the troupe is Jo Gresswell’s, as the group’s pianist, who wrings every ounce of comedic timing and fun out of her role as ‘Jeanette’.

We follow the journey of the would-be strippers as they overcome their individual hurdles with a few ordeals along the way but as they gradually get their confidence, forget their fears and discuss their feelings and finally realise that each of them needs their newfound friendship as a team to move onwards and upwards and the audience are willing them to not only succeed but also be whatever they want to be.

The energy and anticipation of the audience was palpable as the inevitable conclusion drew closer and they were not disappointed, supported by an energetic and talented ensemble, Chris Psaras’ production was a revelation (in more ways than one!) proving that sheer hard work and effort as well as talent and enthusiasm ultimately allow everyone to “Let It Go”!

My thanks to the members of Brierley Hill Musical Theatre Company for their hospitality and look forward to seeing them all again soon.

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