The Full Monty

The Full Monty is a play based on Simon Beaufoy’s 1997 BAFTA winning screenplay of the film. It tells the story of a group of steelworkers from Sheffield who find themselves on the scrapheap when their local steelwork closes down.  Produced by Donnamarie Stamp, we are taken on a journey where the men central to the story bare their souls and eventually a whole lot more!  The storyline examines the sensitive subjects of men’s metal health, sexuality and suicide as the main protagonists deal with the shame of no longer being the family breadwinner and perceived emasculation by their female partners. 

The play starts with a vintage film showing Sheffield in its heyday, a modern city of the future with the steel industry at its beating heart.  We then see the set – the now derelict steel works with rusting walls and platforms the once ever-moving machinery, now suspended forever. 

Gaz and his best friend Dave, former employees of the steelworks, are breaking into the deserted site to salvage metal girders.  They are accompanied by Gaz’s son Nathan, who helps the men to gain access through a window.  Gaz is the jack-the-lad leader who is not averse to engaging in some petty crime to make a living. Dave is his reluctant partner in crime who suffers from a low self-image due to his weight. I liked the way that Dave showed affection to his old crane called ‘Margaret’ as he reminisced about his favourite activity greasing Maggie’s gears.

Gaz is estranged from his wife Mandy and is very close to losing his son Nathan due to non-payment of child maintenance, so he is embarrassed when, due to being locked in the site, he has to be rescued by her and her new boyfriend, Barry.   Dave’s wife, Jean, is trying to keep the family finances afloat by working as a cleaner and she is desperate for a baby. Unfortunately, due to Dave’s low self-esteem regarding his weight and loss of his job, his libido has been affected, and he rejects any signs of intimacy. 

The women are planning a night out at the Working Men’s Club where the Chippendales are appearing prompting jealousy and feelings of inadequacy from the men.  I liked the way each time the door of the club opened you could hear muffled music and the sound of women clearly enjoying themselves inside which added to the ambience.  As Gaz and Dave watch, a gaggle of drunken women, including their own wives, they quickly realise that women are starting to take over their traditional roles – a serious blow to their Northern manhood.  The men are initially scornful of the Chippendale’s until the club manager tells them how much money they made.  Suddenly, Gaz has an idea – get their kit off for money!

At the Job Club we meet Gerald, their former foreman, and we see the middle-class division as Gerald wearing a suit sitting at a computer, scathingly picks them up on their grammar and taunts Gaz on his idea insulting his manhood.

Gaz and Dave break into the steelworks again, this time to use the venue as a rehearsal space to practice when they are caught red-handed by the security guard. This is Lomper, who used to work at the cafeteria, a manic-depressive intent on suicide. Oblivious, Dave ties a slip knot in a rope not realising Lomper’s true intentions and in a hilarious scene tries to rescue an ungrateful Lomper from carrying out his plan.  A bond is formed and Lomper joins the group watching as Gaz, still smoking his cigarette, tries unsuccessfully to sexily strip to Hot Chocolate You Sexy Thing, prompting a bemused Nathan to smash the LP record telling his dad, ‘you’re crap.’

The boys need lessons and who better than Gerald whose passion for the paso doble and ballroom dancing makes him the perfect choreographer.  Once at the Conservative Club, it becomes apparent that Gerald has not told his wife, Linda, that he had been made redundant as she has booked an expensive skiing holiday and ordered ski equipment.  In a hilarious scene, the boys use Gerald’s beloved gnomes to distract him during an interview, prompting a furious Gerald to finally break down and admit his shame over his predicament. 

Gerald joins Gaz, Dave and Lomper and start auditioning for extra ‘members’ to join their stripping troupe.  Mr Horse, a geriatric wheezing older gentleman, shows them his Northern Soul moves and quickly joins the team.  Next up is Guy who initially has no apparent contribution to make until he reveals his ‘hidden talent’ prompting Gaz to dryly note, the ‘lunchbox has landed.’

Relationships are formed especially a sweet romance between Guy who admits that he is gay, and the insecure Lomper who is starting to grow in confidence with his new friends.  Dave is desperate to lose weight, but his self-loathing is especially well highlighted as he sits miserably wrapped in clingfilm while eating a Mars bar.  

In a moment of madness, as Gaz is putting up a poster advertising ‘Buns Of Steel’ Gaz tells the scornful women that they have an extra something that the Chippendale’s haven’t got – they are going the whole way - the full monty! As the play progresses would the men have the bottle to bare all and regain their self-respect?

The play had many highlights some showcasing their masculine chauvinistic attitudes, including where the boys are watching ‘Flashdance’ and Dave comments on the female dancer’s lack of welding skills and where Horse uses a football analogy to compare their chaotic dancing and, of course, the moment in the job centre where the boys start to dance and gyrate practicing their moves to the background music of Donna Summer’s Hot Stuff. 

Strong performances from all including an ensemble playing various roles such as the Club Manager, Police and excited punters. First the wives. Jayne Cox played the role of snobby Linda well, living out her middle-class dream totally oblivious to her husband’s redundancy, her reaction to finding out the truth showed her restrained dignity and simmering anger as she described the neighbours watching her precious possessions being taken away.  Charlotte Newton-Stamp was good as Gaz’s wife Mandy fiercely protective of Nathan and permanently disappointed by her husband and his antics by not being a good role model for her son. Keri Duffy was lovely as the sweet natured Jean desperate for love and affection from her husband Dave. The moment she discovered the posing pouch, jumping to the conclusion he was having an affair, was very well done healing their marriage and months of heartbreak with one phrase ‘me Dave.’

The men were fantastic creating a true bond of brotherhood and comradery, which was apparent on stage showing a deep trust in each other.  I was also impressed with their Sheffield accents maintained throughout. Alexi Sparsi as Guy was the sweet natured and naive plasterer, tactlessly spotting the embarrassed Gerald hiding behind the newspaper when he realised he’d plastered his bathroom. His revelation that he was gay was sensitively handled, despite the men’s reaction that he must obviously fancy them as they stripped down to their underwear!  His blossoming romance with Lomper was sensitively done.  He was also the first in the group to bare his bottom! Bob Gale as Horse fitted in well with the group quickly picking up on their egos preventing them from working as a cohesive team. His worry about his manhood was put across well confirming that his nickname was in fact a cruel pun.  

Benedict Westoby was very good and totally believable as the self-deprecating Lomper, riddled with social anxiety over his sexuality, gradually growing in confidence as he became a valuable part of the team and his realisation of Guy’s feelings for him. 

Frank Stamp was perfect as snobbish Gerald desperately trying to keep his wife in the dark about his redundancy. His arrogant attitude to Gaz was excellent looking down on him, still perpetrating their acrimonious relationship in the steelwork as foreman and employee. Frank had many funny lines as he started to treat their little business enterprise with the attention to detail and seriousness of his former job.   

Lloyd Hawkins was wonderful as down-to-earth Dave and much of the humour stemmed from his dryly delivered lines and observations. His self-loathing of his weight forming a barrier to his relationship with his beloved Jeanie was well handled as he realised she loved him no matter his size.

Peter Lyall captured the bravado and cocky attitude of Gaz perfectly his over-confidence at believing he could dance like a Chippendale was balanced with his deep affection for his son Nathan even though his perceived Northern laddish prevented him from expressing the true depths of his feelings. His crisis of confidence before the gig was well performed as he stressed over his wife being in the club and mocking him and the possibility he could lose Nathan forever.  

Special mention to Rhys Evans who played the part of cheeky Nathan (shared with Max Ilic on alternate performances.) Rhys was incredible as Nathan sparring with his dad Gaz, showing a confidence and stage presence well beyond his years. I loved his relationship with Gaz especially his final tirade when he gave him some well-deserved home truths which elicited a well-earned round of applause.  Also, to Claire Draper who played Annie the female stripper, dismissed with the line ‘we’re looking for knobs not knockers!’

Obviously, the final scene was fantastic, and the build-up was well done as the women encouraged the audience to clap along as the men performed their long-awaited routine. 

Choreography was provided by Cassie Walsh, who created a slick routine which the men performed confidently.  Costumes were appropriate to the 90s theme and the soundtrack chosen also reflected the period.  Maxine Goldstone was Stage Manager providing slick scene changes using appropriate signs to indicate different locations including the tinsel curtain for the finale.

Congratulations Donnamarie for a heart-warming story of Northern men dealing with the effects of unemployment while touching on themes of self-image and sexuality with sensitivity and dry humour. It was wonderful to hear the audience responding to the men supporting them to bravely show their all as they delivered their promise. 

It was a pleasure to meet the cast afterwards and receive another warm welcome from yourself, Cody McGinty and Paul Turner-Johnson.

 

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