Storyhouse, Chester – until Saturday 29th September 2018
Reviewed by Julie Noller
5*****
When I was asked to review The Full Monty, I hoped it would be as iconic as the 1997 smash hit that took UK cinemas by storm. This could be one of the quickest reviews I could possibly write, it surpassed even my expectations, it was simply magnificant. Slick and well polished, the audience whooped with delight, we clapped and cheered. This really is a must see production.
1997 was the year I got married and I noticed more than one “hen” in the audience sporting their veils with pride. I have to admit to being surprised at the number of men happily taking their seats, for you just assume the women would far outnumber them. The Full Monty has been adapted for the stage quite brilliantly by Simon Beaufoy, he manages the transition from screen to stage in a somewhat seamless fashion. I could quite easily believe I was sat in my front room watching the boys learn their craft, such is the joy of Storyhouse.
The Full Monty for those unaware is set in a time of political upheaval in the UK; our first female Prime Minister Margaret Thatcher was at the same time the most revered yet most hated politician ever, this is an era I remember well as a young girl. Strikes and unpopular policies, the declining industries in areas that just expected those industry jobs to always be there as they always had, left men lost and the balance of working practice was starting to shift. This is the power of behind the scenes for this production, forget the big names and music that makes you reminisce; think of all those taboo subjects of the 1980’s given a fresh twist and you see homosexuality, depression, mental illness. Add to those the fact that men just weren’t facing up to reality that the life they had always known was simply gone, never to return. The Full Monty tackles those issues head on, shows us all that there is a way out but you must have a need, want to change and fight for it tooth and nail. Only then do you stand a chance of succeeding.
Each and every actor on that stage deserved their standing ovation. As a team of merry brothers (and sisters) they have bonded wonderfully as if they really had worked together for years, I could quite easily believe that. So many one liners that had me laughing and honestly crying at times, no one left the theatre without a great big smile, what a hoot.
Gary Lucy as Gaz, now I hold my hands up I questioned his accent at first tonight, it was something I couldn’t quite place my finger on. But I soon forgave him, as I was drawn to his bad boy character, a cheeky lad about town, mischief maker, a loving Dad who may not be perfect but you could never doubt the utter devotion for his son Nathan (Fraser Kelly) who happens to be the actual brains of the family, perhaps in another era a chip off the old block. There’s lovable Dave (Kai Owen) the archetypal best mate, getting dragged along in Gaz’s antics. All whilst hiding his own insecurities and emotions from his own wife. Poor old Lomper (Joe Gill) the somewhat simple guy, initially looking to commit suicide, that shocking episode and the humour that follows may make light of a serious topic but it’s a few minutes that do so much to highlight male helplessness. What can I say about Guy (James Redmond) bringing homosexuality to the forefront, brazen and open if you remember the film where he drops his trousers; well he quite literally brought the house and curtains down. Horse (Louis Emerick) would you expect any more than his character to be played with anything other than a scouse accent? Although set in Sheffield, Yorkshire. It just doesn’t appear strange at all. And we accept it happily, almost joyously. He’s rather an old snake hips, well if it wasn’t for the arthritis; amusing really for a wannabe male stripper. Gerald (Andrew Dunn) completes our band of misfits, a former foreman, constantly lying to his wife for six months, that every morning he leaves for work. This is pre internet, pre satellite but you have to question how he managed the pretence. How his pride must have suffered to lose a prestigious job. Yet it ends with him losing everything, home, possessions and his wife. He and the other men come down to the conclusion; that one nights humiliation is nothing for they have nothing.
Could the ending be the highlight of my night, possibly, it’s fun, fast paced and accompanied by Tom Jones. Although I have to say the Job Centre scene accompanied by Donna Summers Hot Stuff, quite easily gives the film a run for its money. You know it’s coming but they delay it, drive up the anticipation. The humour throughout is so very typically British, there will be something for everyone to laugh at. I loved the use of music and dancers for the subtle change of sets. The set itself is simple yet effective and fully believable from working men’s club to long abandoned steel works, with the Sheffield skyline poking through the doors in the dead of night. This play needs congratulating for bringing back memories of a film that won multiple awards and was the highest grossing film of the year. Anyone who was anyone went to watch it and the same should be said for this stage version. If only for the cheeky flash of Gary Lucy’s bum from under his dressing gown, we were already standing up cheering.