Review: ‘The Full Monty’ musical comedy proves upbeat crowd-pleaser in Palatine

Buffalo, New York, may be known for its wild wings, but thanks to Palatine’s Theatre Nebula, Buffalo offers up another tasty treat: the musical “The Full Monty.”

Adapted from the 1997 British film of the same name, the musical unfolds the tale of six laid-off steelworkers, low on cash and prospects, who change their lives. With book by Terrence McNally and score by David Yazbek, “The Full Monty” had its world premiere at The Old Globe theater in San Diego and made its Broadway premiere in 2000, with a subsequent run of 770 performances.

The themes of friendship, marriage and love are obvious, but sandwiched in between are the more serious subjects of unemployment, fathers’ rights, body image and depression.

But under the capable and creative direction of Kevin Wiczer, this production of “The Full Monty” is an upbeat musical comedy of redemption, lovable misfits and strong women. Wiczer has cast well, and keeps the pacing spirited and flowing. He has collaborated with Music Director Bryan McCaffrey, who conducts a live, 10-piece orchestra – all specialists in pop, rock and jazz. Kristine Burdi’s expertise in choreography is highlighted with dances ranging from sweetly humorous to stunningly exuberant. What the cast does with hairspray and chairs – not to mention those special routines we all came to see – is mesmerizing. And Victoria Jablonski’s costumes are ’90s appropriate and perfect in those much-anticipated tear-aways.

Artistic Director J. Spencer Greene’s set design may be utilitarian with movable set pieces, but it works extremely well on that stage, providing essential information and plenty of space for dancing. We’re at a plant, a men’s bathroom, Giordano’s club, and characters’ homes – plenty of visual scenes. Lighting by Amanda Gouskos highlights the cast and set in neons, hues and clear spotlights.

The ensemble numbers 17, and these actors are all enthusiastic, energetic and buoyant in their performances. They look like they’re having a blast, and truly earn the audience’s applause and praise, especially those amateur strippers, aka The Hot Metal Dancers; they’re not Chippendales in any stretch of the imagination, but come a long way over the course of two acts. How clever of Burdi to come up with dances for men who supposedly can’t dance.

All of the six central characters have unique personalities. J. Sebastian Fabal is the true personification of the character Jerry. You’ll feel his love and relationship with his son, Nathan (credibly and charmingly portrayed by Josh Annen, who is truly 12 years old going on 40), his confusion and loss over his divorce, and his persistent pride and stubbornness in his antics in earning needed money and helping out his friends. Fabal’s beautiful ballad “Breeze Off the River” is a heart-tugger.

Kevin Pollack plays David, Jerry’s best friend. He’s given up on everything; his wife, Georgie, describes him as a zombie. Pollack has the right touch – no sad sack here – but his insecurities show as does his self-consciousness. Thanks to Pollack’s acting, there still remain a glimmer and a spark, and his David is lovable and good-natured. His chemistry with Fabal is unquestionable, his chemistry with Georgie is strong. His duets “You Rule My World” and “Big-Ass Rock” also highlight Pollack’s musical prowess. A great setup scene is David and Jerry’s discussion in what is supposed to be the men’s bathroom, which is also the setting for the ensemble song and dance “It’s a Woman’s World.”

A scene that provides much comic relief (probably because of everyone’s reaction) is the audition scene of one Mr. Horse, an older widower with a limp and hip trouble. Korey White is a very engaging and expressive actor and man oh man can he bump, stomp, twist, do the monkey, mashed potato and funky chicken! White is a powerful singer, as proven in his number “Big Black Man.”

Bryan Fowler’s Ethan wants to sing and dance like Gene Kelly in “Singin’ in the Rain.” There’s just one problem – he can do neither, and keeps running into walls. However, he has one very important advantage that I will not reveal. Fowler is a goofy, determined and physical actor. His youth and appearance make his character Ethan a delight, as is Joe Lewis as Malcolm MacGregor. He’s a sweetheart who doesn’t have many friends, and has been living at home caring for his invalid mother. Because of Lewis’ portrayal, you really do feel for Malcolm and believe his awkwardness and depression. But not to worry. Because of David and Jerry, he’s rescued in an intriguing “you’ve got a friend” moment. Malcolm and Ethan both bond over their love of “The Sound of Music” and have a moment with their touching duet “You Walk With Me.”

Neill Kelly’s Harold Nichols is the perfect, immaculately groomed reluctant expert. His intensity and despair in keeping a secret from his wife are palpable; his ballroom dancing is a good analogy for his relationship with his wife. Kelly is a solid character actor.

A guide for the six amateurs, Dane Strange is a phenomenal Keno; he is a gift at the beginning of the production and throughout. Strange is an exquisite dancer.

But now, let’s hear it for the women. Jenny Rudnick is a colorful Jeanette, the irrepressible glue that holds the six men together. Rudnick is salty, tough and honest, and comes complete with red hair, cigarettes and a show-business demeanor and knowledge. Her delivery is perfect. Michelle Tibble is a resilient gang leader in Georgie, David’s wife. Tibble makes Georgie believably outgoing and brash; she is also a powerful singer and dancer. Jessica Fabal is Pam, Jerry’s estranged wife, another actor who delivers a strong woman of character; she makes you ponder lost lives and child support. Danielle Jean is Harold’s wife, Vicki, the classy spendthrift who wins you over when she proclaims what’s truly important to her (not the $80 slumber cream), and by the way, Jean’s a marvelous tango dancer.

Recognition also must be given to a talented supporting ensemble who undertake multiple roles: Peter Moeller, Ariana Cappuccitti, Beverly Dines, Emma Robie and Neal Goldman.

”The Full Monty” is a crowd-pleaser. We know these men, the characters are touchingly identifiable, they’re vulnerable, and they’re human. And what do you really want to know about the finale? Well, let me just quote the ladies of the cast: “Hey, hey, whaddaya say? Buffalo men go all the way.” And somehow, it’s very nice that once in a while, losers can become winners in life.

(Musical contains profanity and adult subject matter.)

• Regina Belt-Daniels believes in the power of theater to educate as well as to entertain. Since the first grade, she has been in love with the theater, appearing onstage and backstage in many capacities ranging from performer to director. She applauds the bravery of the men of “The Full Monty” cast.

IF YOU GO

WHAT: “The Full Monty” musical

WHERE: Cutting Hall Performing Arts Center, 150 E. Wood St., Palatine

WHEN: Through March 4

COST: $23 in advance, $25 at the door; discounts for seniors, students, groups

INFORMATION: 847–202–5222, cuttinghall.org/theatrenebula