The Full Monty is Superlative!

By Carlo Durand
The Coaster

August 18, 2009

In 2001 when the musical “The Producers” won its 715^th Tony Award (slight exaggeration) many wondered if the hype surrounding the sold- out comedic romp had gotten a bit out of hand. Granted, the show was a joy with irreverent humor and catchy tunes and all, but a growing number of dissenters (myself included) began grumbling that there was a Broadway show tragically unawarded and overlooked due to the Juggernaut of Mel Brooks’ campy blitzkrieg. “The Full Monty” (based upon the award-winning, 1997 British film of the same title) managed to run two years and earned the reputation of being a great show that should have run longer. If you missed out on the Broadway run or simply miss the show, then you are in luck because Asbury Park’s ReVision Theatre’s production of “The Full Monty” is sensational.

F or the uninitiated, the story (the movie is set in Northern England, the stage adapters ,Music and lyrics by  David Yazbek, book by Terrence McNally, have set the action in Buffalo, NY) concerns a group of six unemployed factory workers who decide to form a Chippendales-esque group and strip for badly needed cash, all for different reasons. Heading the cast as Jerry, a man sorely in arrears for child support and in danger of losing visitation with his son, is the talented Scott Guthrie. Mr. Guthrie establishes his presence from the opening moments with a strong, clear voice. He is the ringleader who dreams up this harebrained idea and convinces others to drop trou with him. It takes an actor of great charisma and conviction to make Jerry believable and likeable; Guthrie succeeds on both fronts. His portly best friend , Dave, is played by the lovable Adam Kern. Dave is much more than the traditional “chubby best friend” role. He is a person in crisis with his life. Unemployment, the assuming of house-husband duties, and the loss of faith  in himself and in his marriage (his wife played by the adorable Stephanie Sine) have made Dave miserable, yet Mr. Kern’s performance shows a fully developed character who the audience grows to love more and more throughout the course of the evening.

These two buddies soon enlist the res t of their crew:  Andy R. Jobe plays Malcom, a suicidal security guard with mother issues. Jobe has an amazing singing voice and a wonderfully cartoonish physicality (somewhat reminiscent of Shaggy from “Scooby Doo”). His performance is hysterically funny and remarkably touching. Mark Gerrard plays Harold, the group’s reluctant dance instructor. Harold is in a pickle due to his cash-strapped status and over-spending spouse (Vicki, portrayed with gusto and glamour by the fantastic Katherine Pecevich). Gerrard succeeds well as a man fighting to keep up the illusion of stability while slowly crumbling under the weight of the pressure. His duet (“You Rule My World”) with Mr. Kern , as they sing of their respective loves in their lives was a highlight. Mark F. Weekes portrays Noah (aka “Horse”) and brings a charged vitality to the role of an older man seeking re-discovering his youthful inner boogie and Jonathan Gregg plays Ethan, a hapless oaf who has a habit of knocking himself senseless. Gregg is a wonderful performer with a beautiful voice and expert comic timing.  These six fellows have the unenviable task of not only needing to sing, act and dance but to be in varying states of undress during part of it. The group does not disappoint , particularly at the end of act one when we see them all begin to gel as a performing group thanks mainly to Connor Gallaghers’s exciting choreography . Ho wever the finale is nothing less than electric as the guys truly go for broke and do go “the full monty” which is British slang for “all the way”, meaning buck naked.  The audience was hooting and applauding every member of this delightful cast. The show was directed with finesse by David E. Leidholdt who kept the action flowing seamlessly and guided every performer onstage to memorable moments (particularly local favorite Bob Angelini in his professional debut whose brief “strip audition” was a comic highpoint of the evening). The superlative musical direction was by Andrew Hertz.  The entire evening was a complete and total joy, yet there was one factor that truly helped in firmly establishing this production as a deluxe success. The factor is a force of nature named Jane Strauss. A Broadway veteran with highly respectable credits, Ms Strauss quite simply stole the show as Jeanette, the group’s musical director.  Line by line, glance by glance, gesture by gesture, Strauss delivered comedic homeruns and had the boys onstage and the audience in the palm of her hand.

Since 2008, Revision has established itself as Asbury Park’s resident professional theatre company and in a short time has become well known=2 0for its professionalism and dedication to quality work. Currently the company utilizes the performance space at the Asbury Park VFW Hall (where their celebrated spring production of the hip-hop musical “Kingdom” was staged to raves) and the Carousel House on the Asbury Boardwalk (where “Monty” is now playing). There is a resonating sense of rebirth here. What was once a vacant shell ready for demolition is now heralding a new era for a city. Peter Allen wrote “Everything Old is New Again”. Asbury is coming alive again and no city can truly thrive without the presence of art.  One can only hope that the Carousel House or another empty theatrical venue can soon become this group’s permanent home. They deserve one and the city needs one. In the meantime, see “The Full Monty” and enjoy a bit of Broadway caliber theater right here on the shore.

“The Full Monty”  runs Wed-Sat at 8PM, Sundays at 7PM through September 6^th at The Carousel House on the Boardwalk, 700 Ocean Avenue, Asbury Park, NJ 07712. Call 732-455-3059 for tickets and information or visit  www.ReVisionTheatre.org