BWW Reviews: THE FULL MONTY Has The Goods at Theatre Arlington

It is always a pleasure to view a production that has so many outstanding performances from its supporting players, as is the case with The Full Monty, currently on stage at Theatre Arlington.

The Full Monty opened on Broadway in 2000, and ran for just under two years. It has music and lyrics by David Yazbeck, with a book by Terrence McNally. An Americanized version of the mega-hit British film hit of the same name; the musical tells the story of six unemployed mill workers who regain their self-esteem by developing and performing a stripper act.

At first, the production seemed to be directed a little too broadly for my taste (although the audience seemed to enjoy the rowdiness), until the irreplaceable Sara Shelby-Martin came on and grounded the proceedings superbly with her rendition of “Life with Harold.” As Vicki Nichols, wife of the choreographer of the strip group, Miss Shelby-Martin shined in a brief but prominent role. She tossed off “Life With Harold” with the kind of sheer comic artistry that belongs in a museum of comic art. Miss Shelby-Martin also scored a bulls-eye in her dramatic moments, especially in her quite touching reprise of “You Rule My World” in the second act.

The role of Jeanette, the men’s rehearsal pianist, is one that demands the utmost in delivery and timing. This production was indeed blessed with Cathy Prichett in the role. Miss Pritchett has the deadpan delivery required for this role down to an absolute science. With her slightly husky voice, marvelous inflection, and her face of a thousand expressions, she wringed more laughs out of Jeanette’s one-liners that I thought were humanly possible. Her solo, “Jeanette’s Showbiz Number,” was easily the standout of the show.

As Malcolm, one of the men in the strip group, Gary Eoff showed a singing voice that was more than fine married with wonderful stage presence and a charming countenance. His tender song at the funeral scene, “You Walk With Me,” was sung with a quiet gentleness that was equal parts beautiful and moving.

Apart from the carping mentioned earlier, Director/Choreographer Michael Serrechia had a firm grip on the production. I thoroughly enjoyed the fluidity of the production—one scene would flow transparently into the next in a near-cinematic fashion. The backstage scene toward the end of the musical was managed superbly. Mr. Serrecchia and his assistant Megan Kelly Bates are also masters of comedic choreography. Jack Hardaway’s set, Michael B. Winter’s lighting and Michael Robinson’s costumes all caught the scene and temperament of the show admirably.

The Full Monty truly is truly a fun-filled evening’s entertainment. The production currently on display certainly has a lot to offer, especially in the top-notch performances of its supporting cast. Theatre Arlington is a charming venue to see a production, with a friendly and attentive staff.

The Full Monty continues to play at Theatre Arlington through October 10. For more information, please visit their website at http://www.theatrearlington.org.

 

Photo Credit:  Eric Younkin

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