Review: STAGES St. Louis' Heart-Warming and Hilarious THE FULL MONTY

If you've seen the movie version of the THE FULL MONTY, and even if you haven't, you should make it a point to see STAGES St. Louis' current production of the musical version, because it's a fabulous show. Sometimes it's silly, sometimes it's serious, but one thing is certain, it's a show that tugs at the heart and has you rooting hard for these unemployed steel workers to pull off the scheme one of them hatches in order to earn some real cash. The show is wonderfully cast, and smartly directed, and more importantly, features a splendid, catchy score (music and lyrics by David Yazbek), and a top notch script by Terrence McNally that retains a lot of the more significant issues that made the movie so special to begin with. At its core it's a story of hope and following your dreams in the face of adversity, something we could all use more of, and that alone makes it an absolute must-see event.

Though relocated to Buffalo, New York instead of its original British setting, the difference doesn't really matter since both countries have seen their steel industries go by the wayside. In fact, for me, the Americanization works perfectly. Basically Jerry Lukowski is frustrated with the way his life has turned out. He's lost his wife, he can't find a decent job, and significantly, he's about to lose his son due to his not being able to pay alimony. Seeing how the local ladies go wild over some Chippendale-like dancers, stuffing wads of cash into their g-strings, plants the germ of an idea in his head. He figures he and his friends could do the same, but rather than stop at bearing a skimpy "banana warmer", will go all the way, giving the audience the "full monty", or complete exposure. It's a risk, but it's one he's willing to take when he sees his son drifting away from him due to his perceived lack of motivation. But, can Jerry come up with the deposit for the club? Will the men he recruits "measure up"? See for yourself, it's an inspiring piece of theatre.

Brent DiRoma again takes the lead role (he's filled in admirably twice this season, in addition to appearing in the season's first show, SMOKEY JOE'S CAFE), and he delivers a truly memorable performance. DiRoma makes Jerry into a likable guy who may be a little rough around the edges, but who really just wants to succeed at something. When he sings "Breeze Off the River" it may bring tears to your eyes as it did to mine, because it speaks to fathers everywhere who want to be seen as someone special to their kids, even if they're no longer with their spouse. Cole Hoefferle is a delight as his young boy, Nathan, and they share a great chemistry together.

Then there's Jerry's overweight buddy Dave (Todd A. Horman), who gets recruited to dance, but has to deal with his own insecurities before he can commit. Erik Keiser is terrific as Malcom, who Jerry and Dave find attempting suicide due to his utter loneliness. The hilarious "Big-Ass Rock" is used to great comic effect as they contemplate other methods they could utilize to do the deed. Their levity lightens Malcolm's mood and he joins them. Next up is Noah "Horse" T. Simmons, an aging African American man who may be a little long in the tooth, but shows off some wicked dance moves during auditions. Adam Shonkwiler amuses as Ethan, who reveals one big reason why he should be included in the troupe, despite his seeming lack of rhythm, when he drops his trousers and faces the guys. Like Malcolm he's also looking for a companion, and with Malcolm he's able to find one. The final piece of the puzzle arrives in the person of Harold Nichols, fussily played by James Ludwig. He was responsible for the firings in his role as "efficiency expert", but now he's living a lie by concealing the fact that he too was let go from his wife.

The ladies are also well represented, with Georgie Bukatinksy, Dave's affection-seeking wife, nicely played by Lindsie VanWinkle, who just wants her husband back. Julia Cardia is a blast as Harold's wife, Vicki and brings down the house with her vibrant delivery of "You Rule My World." Leah Berry also does fine work as Jerry's estranged wife, Pam, who feels that Jerry has simply never grown up. She's even reached the point where she's ready to remarry. Most impressive is Zoe Vonder Haar as the tough as nails showbiz vet Jeannette Burmeister, who shows up to play piano at the auditions.

A lot of great work is also provided by the large supporting cast that includes: Steve Isom, Kari Ely, Whit Reichert, April Strelinger, John Flack, Laura Ernst, Cody Heuer, Shawn Bowers, Morgan Amiel Faulkner, Ian Paget, and David Sajewich.

Michael Hamilton's direction is remarkable, neatly balancing the drama and comedy in a way that doesn't tip the show too far in either direction. Stephen Bourneuf's choreography is very well conceived, and "Michael Jordan's Ball" is a great showcase for his, and the actors', considerable faculties in making their dream a reality. Lisa Campbell Albert's musical direction sparkles with this clever and catchy score, and she pulls wonderful vocal performances from a sharp cast. James Wolk's scenic design alternates between nightclub glitz, suburban life, and the gritty and grimy mill. Matthew McCarthy's lighting sets the proper mood for each scene, and Garth Dunbar's costumes have a genuine air of authenticity about them. Stuart Elmore's orchestral designs sound better than ever.

Do yourself a big favor and check out STAGES St. Louis' spectacular production of THE FULL MONTY. It's hilarious, heart-warming, and uplifting, and you really can't ask for much more from a show. It continues through October 4, 2015. Don't miss it!

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