The Full Monty: Finding Manhood in a Woman's World

I am going to sound like a broken record here, but let me just start this all off with what, happily, has become the norm.Toby's Dinner Theatre of Baltimore is currently offering the best show and best value for your dollar in Baltimore today.Forget those Ozian witches at the Hippodrome!Unemployed steel workers and their ladies rule Charm City.

When The Full Monty opened in New York in 2001, it immediately became a smash hit and was the show to beat come awards season.Well, The Producers came along and history was promptly re-written.I suspect (and I know I am not alone in this) that history will again be re-written to reflect that while The Producers may have cleaned up with their original cast, time has been wholly unkind to it (it should have closed MONTHS ago), and keeps going on some very shaky casting.On the other hand, supERB Productions of the crowd-pleasing and still emotionally solid The Fully Monty, like the one that just opened at Toby's in Baltimore, keep the show in the minds of theatergoers nationwide, and likely will for the long run.Time will tell if I am right, but for now, regardless of the future, we are all so fortunate to have this gem of a show in our neighborhood.

Co-director Larry Munsey again shows that he is your go-to man when doing a movie-turned-musical.It was he that helmed the visually stunning and vastly entertaining (and sadly underrated) Footloose at this venue last year.Well, lightning has indeed struck twice, for Munsey, with co-director Toby Orenstein, as created an equally cinematically styled production (no one transitions scenes better than this team) and hugely fun, bombastic production.Both directors understand, clearly, the audience's appetite for fast-moving good times, and boy, do they deliver!Again, with the aid of a turntable, which is sparingly used, and some interesting wheeled set pieces (designed by David A. Hopkins), the cast manipulates the set efficiently and with a great deal of theatricality, making the 10 second scene changes fly by and still interesting.Adding to the film-like quality of the direction is the easy, fluid lighting by Lynn Joslin and even some delightful choreography by Tina Marie DeSimone.

Even when her choreography takes center stage, Ms. DeSimone's work is stylish and full of the character the piece demands. Clearly, she understands any limitations of various cast members, as well as a keen study of the script - her moves, while choreographed nicely for groups, really shines as each character is more deeply revealed through the individual attention she has given each member of the company.Often, particularly locally, choreography, while big and well-executed, is rarely so tightly developed in characterization.Bravo to Ms. DeSimone, Ms. Orenstein and Mr. Munsey for understanding that this piece demands specificity of character and the highlighting of individuality.

Each actor in the company, from the smallest ensemble role to the leading men, has been given the chance of a lifetime, and each has risen to the occasion.If you ever wondered what a critic means by phrases "superior ensemble acting" or statements like "they are a true company", you need look no further than the Toby's Baltimore stage.The entire cast simply exudes that feeling of complete trust and caring for one another, and the cohesiveness of the group not only informs the tight direction of the show, but basks in that intangible "thing" that sets this show apart from so many others, where relationships feel forced, mechanical or worst, acted.

In the small, but important, supporting roles, each actor gives 100% and in often one line or very brief scene creates a full character.Andrew Horn, Matt Moore, Dean Davis, Kevin McAllister, Scean Flowers and Adam Grabau play the guys who try out to strip but don't make the cut, as well as various other roles.Each is quite funny (Mr. Horn is especially charming and touching at his "audition") and contributes as much to the production as the leading men.Kate Williams (in a drastic departure from her last role - Mary in It's a Wonderful Life!), Ariel Vinitsky and Jessica Ball (steaming hot as the town tramp) are hilarious as working class girls who live for Girl's Night Out, and each brings just an edge of sadness to their parts, which realistically keeps them from becoming white trash caricatures.Instead, they (and the ensemble men, too) show us the pain of unexpected poverty and dreams unfulfilled without hitting us over the head with it.At once the ensemble entertains and adds to the real heart of the show.

As the wives (and ex-wives) of the central male characters, Rebecca Garrahy, Heather Marie Beck and Tina DeSimone manage the impossible - to create characters that are as interesting as their onstage husbands.Again, each gives such a fine tuned and detailed performance.Ms. Garrahy as the frustrated, but endlessly optimistic wife of Dave, practically explodes off the stage her excitement is so real as she hosts a Chippendale's style night at a local club.She is sharp and sassy - her rendition of "It's a Woman's World" is thrilling - and honest - her loneliness and near heartbreak when she suspects her husband is cheating will make you ache for her.Ms. DeSimone, as the ex-wife of ringleader Jerry, treads the difficult line between bruised, disappointed ex, and still caring friend.In a role that could easily slip into chronic bitchiness, she is instead strong when she needs to be, warm when it counts, and fiercely protective of her child.Finally, Ms. Beck exudes style and charisma - her "Life with Harold" number rivals that of original caster Emily Skinner - and would melt the heart of any man with her love of life, tempered by her love for her husband.All three, separately, represent the very best qualities of real women, and all three, together, have a bond that is another element that makes this Monty better than others.

As Nathan, the young son of Jerry, Ryan Patrick nails that awkward teenage way of being, balancing "cool" with an intense love for his father.Awkward and slightly gawky (I might add he is acting this - his demeanor off stage is quite together), his Nathan is the perfect blend of the qualities he has learned from both of his parents - charisma and go-get-'m attitude from his dad, calm thoughtfulness from his mom.This quality in the otherwise slight character of the son has been missed in nearly every production of this show I've seen.Matt Johnson, as professional stripper Buddy "Keno" Walsh, is the very picture of male sexy perfection when he strips and the riotously funny femme gay he is offstage.In an early scene, Johnson shows that one should never assume they understand what it means to be a "real man."He is as real as it gets.

In the lone character added for the show, Jeanette Burmeister, Lynne R. Sigler plays senior citizen vivaciousness to the hilt!Tossing out salty bon mots and sharp one-liners, Sigler shows that she (and Jeanette) can really play with the big boys.Her world weary delivery and obvious love for her male co-stars create genuineness that really adds much to her portrayal.Her big solo, "Jeanette's Show Biz Number", stops the show, and truly conveys that both actress and character have been around for some time, and love every minute of it.

No production of The Full Monty, though, would work without the right mix of the six men who eventually bare all (and for the record, yes, they do).And this Monty has the perfect six.It is clear, once all six take the stage together, that they have all six bonded in a way that only men can.To call them merely a team is to somehow diminish what they have accomplished here.The friendships they portray are clearly real, and the level of trust, and yes, love for each other makes the whole affair more of a rooting for them rather than a will they or won't they thing.

David James as the dim but endowed Ethan is positively endearing as he runs around the set trying to be like Donald O'Connor in Singin' in the Rain.And he is sweetly touching when he opens his heart to fellow stripper, Malcolm, played by Larry Munsey.Munsey, as the friendship starved, nearly suicidal Malcolm, grows and flourishes in a sublimely satisfying way, making his eulogy number "You Walk with Me" both touching and strengthening.It amazes me that Mr. Munsey has accomplished so much onstage and off.Does this man sleep?

Harold is the stuffy uptight former boss who lives to give his wife everything she wants, be it a tanning bed or Alaskan cruise.And David Bosley-Reynolds plays him with all the bluster and stuffiness required, plus a healthy dose of slowly revealed warmth.Instead of a one-note character, his Harold is infuriating and ultimately lovable. As "Horse", the aptly named "Big Black Man" of the group, Ray Hatch nearly steals the show as he dances his way into the hearts of all involved.But it is the dignity and self-deprecation that tinge his characterization that takes a great performance and makes it brilliant.Mr. Hatch delivers all of the goods and then some.

The central characters and central relationship of The Full Monty is between best friends and fellow unemployed workers Dave and Jerry, and truth be told, without it, the show would be nothing.In Daniel McDonald and Steve Antonsen, the perfect couple has been brought together.It would be very hard to think that they aren't close friends in real life, so genuine is their onstage relationship.They fight and bicker, laugh and love each other the way that only two male best friends can.That bond is virtually unexplainable unless you've been in that situation yourself.McDonald shows a completely different facet of what is apparently a large acting gift.Is this the same man who played the fiery minister in Footloose or the hate filled bigot in Ragtime?Here, he is the deeply depressed, nearly emasculated everyman, plunged into despair by unemployment and perceived role reversal with his wife.His two comforts are food and his best friend.McDonald's delivery of "You Rule My World" a love song to his tummy is profoundly touching and sweet, and the chemistry between he and his wife (Ms. Garrahy) is strong.But the bond between he and Steve Antonsen (as Jerry) is no less than amazing.All of us should be so lucky to have the kind of relationship they portray onstage.When they sing "Big Ass Rock" they (and Mr. Munsey) are creating perhaps the single best moment of male bonding and pure magic seen in years on any local stage.

The most gratifying part of this production, for this reviewer, however, is finally seeing Mr. Antonsen at the peak of his ability in a production worthy of it.This Jerry is the complete antithesis of his previous portrayal of the same role.He absolutely oozes charm and charisma, and commands the stage with every fully thought out gesture and turn of phrase.From the angry opening lines of "Scrap" to his tribute to masculinity in "Michael Jordan's Ball" to the achingly real sorrow in "Breeze Off the River," Mr. Antonsen shows an marvelous range, both vocally and emotionally.He is clearly enjoying every single minute of the experience, and helps catapult this terrific show to the next level of brilliance.Congratulations, Mr. Antonsen!

This is a show for all adults, male and female.Guys, don't be fooled by the come on of male stripping - this is about what it really means to be a man.In fact, don't be put off by the fact that it is a musical - it could very well be the most masculine musical ever written.And ladies, you won't be disappointed either - the show is just raunchy enough, the stripping just sexy enough that it is a real Girl's Night Out!Leave the kids home - the language is realistically rough, and there is the full monty, too.But what a fantastic way to heat up this damnably cold winter!The Full Monty sizzles - DO NOT MISS IT!

PHOTOS: TOP to BOTTOM:"Let It Go" - The Men of Monty; "It's a Woman's World" - The Ladies of Monty; Lynne Sigler and Ray Hatch; Steve Antonsen and Daniel McDonald; Steve Antonsen

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