“A story of unconditional love and acceptance. Yes, it’s fun. Yes, you’ll laugh. But ‘The Full Monty’ has so much more going for it that must be experienced live.”

Adapted from the 1997 British film, ‘The Full Monty’ tells the story of six unemployed steelworkers in Buffalo, New York, who are low on cash and facing limited job prospects. Their relationships with significant others (wives, girlfriends, partners, and friends) remain on tenterhooks, too. The musical speaks volumes today about relevant themes that have never really disappeared from modern society: body image, gender biases, societal pressures to conform, financial pressures, and toxic masculinity. These are struggles to which everyone has connected at least once, making the characters' experiences understandable.

At the top of the show, the audience hears a performance of GIRLS’ NIGHT OUT at a local bar where Chippendale dancers perform. Best friends Jerry (Gaelan Beatty) and Dave (Daniel Williston) spy on the women's behaviour and are astonished at what they witness. After speaking with Keno (Alex Wierzbicki), one of the scantily clad dancers, Jerry and Dave devise an idea to make some quick cash. They find four other guys, each with their own unique personalities and struggles: Ethan (Darren Burkett), Horse (Gavin Hope), Malcolm (Jacob Macinnis) and Harold (Ian Simpson), to develop a one-night-only show where they will perform a strip show.

We witness the guys rehearsing, their nerves palpable. Will the show be successful? As the story unfolds, their feelings of inadequacy and fears of ridicule remain firmly rooted. Yet, they bravely push forward, their personal lives unfolding in front of the audience. Ultimately, the guys become the talk of the town, and the question is asked of them—will they go the full monty (take it all off for everyone to see)?

And do they?

You’ll have to see this ‘Full Monty’ for yourselves.

But why this one? Is Port Hope ready for a show like this with all its innuendo?

It sure is judging from the audience I saw and heard on opening night.

But it’s not going to be for everyone. One man sitting in front of me had his head lowered and appeared somewhat uncomfortable while watching the show. He didn’t stand at all during the curtain call and didn’t applaud. His wife, however, was on her feet, smiling and loudly applauding what she had just experienced.

Director and choreographer Julie Tomaino says the time is right to bring ‘The Full Monty’ to Port Hope because it’s fun, funny, hilarious and has heart.

She’s right.

We need a story like ‘Monty’ to make us smile and sometimes give us a good belly laugh. I did just that with some of the clever-sounding songs and dialogue.

‘The Full Monty’ shows us very real people who do not have six-pack abs and washboard stomachs. Tomaino cast genuine-looking performers of all body shapes, sizes, and temperaments who had not been pulled out of Vogue, Playboy or Playgirl magazines. (Do these still exist?). These actors tell ‘Monty’s’ story with humour, warmth, compassion and heart.

That’s why you should see the show.

Julie Tomaino understands a thing or two about the direction of musical theatre. Last fall, I saw ‘Once,’ directed by her, at Gananoque’s Thousand Islands Playhouse. It was a moving piece of theatre, and I kept my eye on waiting to see what she would be doing next.

Good things come to those who wait. And I’m glad I did.

I’m not disappointed in the least whatsoever with ‘Monty.’

Tomaino’s direction remains tight. She keeps the story’s pace clipping along nicely, never feeling rushed or hurried. Her choreography remains what it is to be. These guys are not professional dancers, so there’s no need for pinpoint accuracy. They’re ordinary schlubs, out to try something daring in their lives. The final strip number is just that – a dare or what we call YOLO (You only live once). These guys are out to have fun.
In the meantime, that sense of fun spills over to the audience.

Scott Penner’s design of various props, from wall urinals to hanging punching bags to guitars, nicely establishes a particular scene without needing many sets to be pushed on and off. Joyce Padua has selected some bright colours that women would have worn back in the 90s. The men are dressed comfortably in jeans, dress pants and shirts – until the bright red bikini briefs are revealed, drawing raucous audience laughter. Jareth Li’s lighting design incorporates a shadowy effect to heighten the dramatic intensity, especially in one moment between Darren Burkett’s Ethan and Jacob Macinnis’ Malcolm.

Paul Moody’s terrific-sounding music direction is one of the show's highlights. Whether or not Sound Designer Emily Porter worked closely with Moody to ensure the lyrics to the songs could be heard, let’s say that I’m pleased that even balance has been effectively maintained. There were a few moments when I didn’t hear all the lyrics, but it was opening night. I’m sure that the balance will be fixed this week.

Some spirited numbers get the audience up on its feet. The final in Act 2 – ‘Let It Go’ - did just that. Horse’s ‘Big Black Man’ is another moment where performer Gavin Hope has the audience right in the palm of his hand. His smile says it all during the song.

There are also some heartfelt moments when the men reveal their vulnerabilities to each other touchingly. This is the other highlight of the evening: watching trained actors perform appropriately and for us, the audience, to respond in kind. It’s not unmanly to be moved by seeing other men open up their feelings.

Donna Garner’s cigarette-smoking, boozy-broad and piano accompanist Jeannette is terrific. Garner combines the perfect amount of sass in her Act 2 Showbiz Number. It’s garnished with the exact peppered attitude of a woman who takes no crap from anyone.

Gaelan Beatty’s moments with August Fox (who plays Nathan) are convincing. As the central character, Jerry, Beatty delivers a grounded and balanced emotional performance in moving back and forth between the comedy of wanting to go on stage to strip versus wanting to do what’s best for his boy, Nathan. The young August Fox is one to watch in the future. He listens intently and responds appropriately in each scene when he is present. The father-son moments between Gaelan Beatty’s Jerry and young August Fox as Nathan are compelling, most notably in ‘Breeze Off the River,’ when father watches his son sleep.

Jacob MacInnis’ Malcolm is shy, quiet and reserved. Malcolm cares for an aging and cantankerous mother who might be suffering from some form of dementia. Throughout the verbal abuse, MacInnis delivers a quiet, reserved and stoicism in his performance, knowing that he is caring for his ailing mother the best way he knows how. In his ‘You Walk with Me’ with Darren Burkett, Ethan is proud to admire just how much Malcolm has given up to care for his mother. Their friendship begins its formation on that solid note.

Ian Simpson’s Harold is standoffish because his job in the plant is above the other workers. He can’t get chummy, and Simpson nicely exhibits that quality when first introduced. But like the other workers, Simpson is let go from his job and is afraid to tell his wife, Vicki (Julia Juhas) because she likes the good things in life. Gavin Hope’s broad-shouldered and husky-sized ‘Horse’ heightens the hilarity behind trying to see if what is said about a ‘Big Black Man’ is true.

Daniel Williston delivers a memorable performance as Dave, who wears his heart on his sleeve. Williston’s Dave is someone who always wants to do the right thing. He wants to be a good husband, a good friend, and a good citizen. someone who has been hurt many, many times in his life, and he wonders if it’s due to his size. Jamie McRoberts’ Georgie (Dave’s wife) importantly underscores one of the themes of ‘The Full Monty’ in ‘You Rule My World.’ It’s Dave, whom Georgie loves, and that’s all.

And Another Thought: Julie Tomaino hopes the audience will embrace the characters with as much love as the creative team and actors did in preparing for the opening.

This message of love permeates a few of the shows I’ve seen over the last while—not the gratuitous, activist, shouting, exploitative side of supposed love, but the side of wanting what’s best for the other person, unconditional love without expecting anything in return.

That’s another reason to travel to Port Hope to see this ‘Full Monty.”

To the man sitting in front of me on opening night: I’m sorry you may have felt the way you did and chose not to see things from a different angle (as the message in Stratford Festival’s LA CAGE AUX FOLLES tells audiences to do). Even Atticus Finch advises Scout to climb into someone else’s skin and walk around in it.

It’s essential to do that.

Running time: approximately two hours and 15 minutes with one interval/intermission.

‘The Full Monty’ runs until July 28 at the Capitol Theatre, 20 Queen Street, Port Hope. For tickets: (905) 885-1071 or visit capitoltheatre.com.

CAMECO CAPITOL ARTS CENTRE presents
‘The Full Monty’ Book by Terrance McNally. Music & Lyrics by David Yazbeck
Directed and Choreographed by Julie Tomaino
Music Direction by Paul Moody
Lighting Design by Jareth Li
Costume Design by Joyce Padua
Set Design by Scott Penner
Sound Design by Emily Porter
Stage Manager: Jessica Severin
Band: Paul Moody (piano), Tami Sorovaiski (bass), Matt Roy (guitar), David Schotzko (percussion)

Performers: Gaelan Beatty, Darren Burkett, Autumn-Joy Dames, August Fox, Donna Garner, Gavin Hope, Julia Juhas, Jacob MacInnis, Jamie McRoberts, Ian Simpson, Tahirih Vejdani, Alex Wierzbicki, Daniel Williston