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THE FULL MONTY
Music & Lyrics by David Yazbek
Book by Terrence McNally
Theatre Three
REVIEWED 08/12/06 PERFORMANCE
Direction & Choreography by Michael Serrecchia
Musical Direction by Terry Dobson
Scenic Design by Jac Alder Barbara Murrell
Sound Design by Richard Frohlich
Costume Design by Michael Robinson
Lighting Design by Neil Robert Ingles
CAST:
Jeannette Brumeister...................Lynn Ambrose
Ethan Girard...............................Andy Baldwin
Harold Nichols...........................Coy Covington
Jerry Lukowski...........................Gary Floyd
Nathan Lukowski........................Chance Jonas-O'Toole
Pam Lukowski............................Jennifer Pasion
Noah "Horse" T. Simmons.........Wilbur Penn
Dave Bukatinsky.........................Charles Ryan Roach
Susan Hershey.............................Kristi Rowan
Georgie Bukatinsky.....................Allison Tolman
Malcolm Macgregor....................Theo Wischhusen
Vicki Nichols...............................Stephanie Young
Ensemble.....................................Connie Marie Brown, Mark C.
Guerra, William K. Lanier, Allison McCorkle, Lee Irving, Joseph Nobles,
Andrew Phifer, Carrie Slaughter, Joseph Strohl
By the time I took my seat at Radio City Music Hall
at the 2001 Tony Awards, I had already seen the top two contenders in
the musical field. In a unique twist the material for both of these
musicals were based on motion pictures. The two battling it out for the
top prize were Mel Brooks' THE PRODUCERS and THE FULL MONTY. Both had
out of town tryouts that culminated in solid reviews and buffo box
office. I was fortunate enough to see both musicals the very week of the
Tony Awards and observed history in the making as THE PRODUCERS won the
most Tonys ever for a single production, thereby in the process
completely shutting out THE FULL MONTY from any wins
Less than four months later there would be a horrific tragedy that would
cripple the nation and changed the world forever: September 11th. THE
FULL MONTY suffered (as did many shows) from this tragedy at the box
office, never returning the draw it once had prior to 9/11,
resulting in shutting down in September 2002 after only 770
performances. The national tour also took a big hit, closing soon after
9/11, unable to regain its feet to hit the road again.
Now five years later and in yet another ironic twist of fate, we are
coming to the 5th Anniversary of 9/11 and at the same time THE FULL
MONTY is having its regional premiere at Theatre Three in Dallas, TX.
TFM is based on the motion picture by the same
name, but this time around the story is not based in England, but rather
Buffalo, New York. David Yazbek's score is a firecracker mixture of jazz
and pop, with a light dusting of good ole Broadway overtones. His lyrics
are perfection from beginning to end. They are original, hilarious,
moving, and solidify character development and subtext-a rarity in
today's musicals. Terrence McNally's book is the perfect side dish to
Yazbek's score; they both melt together like a Reece's butter cup-two
completely different flavors blending together to create a confection
that everyone savors and enjoys down to the last bite.
Jac Alder & Barbara Murrell's smashing scenic design tops the physical
elements. The story jumps all over the place, from a strip club
bathroom, to a park, to an empty factory, even a New York courtroom.
Alder & Murrell use the entire space to create visually appealing set
pieces that are textured and painted wonderfully. They have fashioned
various set pieces to move in and out throughout the show with quiet
efficiency.
I could only come up with one word to describe Michael Serrecchia's
direction and choreography: phenomenal.
The blocking and staging works like a 3D masterpiece for this "in the
round" production. Serrechia has his actors working all four sides of
the theater constantly. Even during musical numbers, he will stage and
choreograph his performers to move with ease and purpose all around the
stage-never omitting any sides of the house. Actors are directed to move
with determination, reason, and at times with underlying subtext that
works magic within the lyrics, book, and emotion.
Serrecchia directs his actors to give engrossing, truthful, organically
real performances-devoid of any false pretense. He has made sure to keep
his performers rooted in reality, allowing their subtext to glow that
much more brightly within their character arcs.
Serrecchia wins another gold star for the snap, crackling pace and
energy he has instilled within his company. There are a lot of scene
changes-which can be the kiss of death for many a production-but not
here. The cast constantly moves sets, furniture, and props with
effortless speed. Within in a few seconds we go from one scene right
next into the other. Serrecchia also has his cast move and change
scenery in total character-thereby never allowing the energy to sag nor
hurt the emotion that was created in the previous scene. An excellent
example is the scene change before and after the number "Life With
Harold".
Aiding Serrechia's vision of a hit is the always-superb Terry Dobson as
Musical Director. As usual Mr. Dobson has an exceptional array of
musicians to conduct. The music has verve and pizzazz with slick
professionalism behind it. They don't overpower the singers, but follow
them like the perfect twin. Dobson always has a keen sense of just how
to make a musical pop and glow-and he does it again here.
The ensemble may not have a lot to do within the production, but they
give it their all when they are on stage-and it shows. Their energy and
talent is nose to nose with the principals. They too provide some loud
laugher during the evening.
This splendid ensemble comprises of Connie Marie Brown, Mark Guerra, Lee
Irving, William Lanier, Allison McCorkle, Joseph Nobles, Andrew Phifer,
Kristi Rowan, Carrie Slaughter , and Joseph Strohl (Who is very funny
during his stripper audition and pulls double duty playing
trumpet in the orchestra pit).
There are many musical number highlights within the evening, too many to
count in fact. These musical numbers were solid hits-from the actors'
interpretation of the material to the staging. Examples include "Big As*
Rock"; "Michael Jordan's Ball"; "Life With Harold"; "Big Black Man"; and
so on-they were all splendid.
However two numbers did stand out from the rest: "Breeze Off The Water"
and "You Walk With Me".
Gary Floyd sings "Breeze Off The Water" with a marvelous tenor voice a
sweet ballad he sings to his son in Act Two. Floyd segues into his
falsetto and higher notes with pristine clear tones that coast
beautifully on the score.
"You Walk With Me" is a poignant duet sung by Theo Wischhusen and Andy
Baldwin. Each of them possesses a gorgeous tenor voice that intertwine
both score and voice to create a powerful duet. They crescendo with
muscular force to reach the high notes, and then softly land for the
quieter moments. They both sing with such compassion and are so very
much in the moment that you lose yourself in the scene. Add to that the
immensely intimate staging-and you have a duet that touched many in the
audience-both myself and the woman next to me wiped tears from our faces
during the black out. It is a powerful number performed with heartfelt
honesty by Wischhusen and Baldwin.
It is hard to pick and chose which of the principals shined the
brightest, because they all were terrific. Not a single weak link in the
bunch. But there was one that did steal the show, and that would be Theo
Wischhusen. As a person who sees so much theater, I always find it a
special treat when I see new, dazzling talent on stage. I have never
seen Mr. Wischhusen on stage before.
Wischhusen portrays "Malcolm", a shy, nerdy, pigeon-chested security
guard who lives with his mother. Throughout the entire evening this
amazing actor never once dropped character, both emotionally and
physically. He kept his back arched up, creating this hilarious walk and
posture for Malcolm. His first scene involving a car suicide not only is
hysterical, but tugs at the heart as well from his loneliness. Observe
his character work throughout the evening-it is
exquisite to watch unfold. The combination of comedic timing, delivery,
pace, and facial expressions had me in constant laughter (as did the
audience). But then watch his character arc go into more dramatic
overtones and he succeeds there with amazing skill and talent. You just
need to see him (with Andy Baldwin) do the song "You Walk With Me" as
proof of this. Wischhusen's performance was captivating.
Gary Floyd is fantastic as "Jerry Lukowski", a divorced, unemployed
father who just wants to keep his son. Floyd has created a character
that the audience really empathizes for. Floyd is the nucleus for the
energy of the show, and he does disappoint neither his fellow actors nor
the audience. He feeds off his fellow actors-and vice versa-that allows
his character's arc to develop into impressive colors & shades of
characterization. Floyd achieves some resounding laughs with his
performance in both song and book as well. Floyd also has one of the
best musical numbers of the evening, the aforementioned "Breeze Off The
Water". You do get the conflicting emotions that Floyd's character is
going through within the frame that Floyd has created for his character.
Floyd can add yet another outstanding performances this season with this
role.
Providing some of the biggest laughs of the night were Charles Ryan
Roach as "Dave Bukatinsky" & Wilbur Penn as "Noah `Horse' Simmons".
Dave is Jerry's best friend who happens to be overweight & unemployed.
Roach's chemistry with Floyd works like well-oiled machine-they play off
each other in total sync. But Roach does have a very beautiful moment
that I don't think many see from the audience. During the
reprise of the song "You Rule My World", as Dave's wife sings her
unending love and support for her husband, Roach's eyes water up as he
hears for the first time how much she really does love him. It's a very
moving moment that tugs at the heart. I've seen Mr. Roach in many
productions, and by far he gives his finest performance here.
Penn had the audience howling and rolling in the aisle with his number
"Big Black Man". It is a showstopper of a number that Penn relishes in.
During this number a table unexpectedly lost its legs, bringing Jerry's
son, beer bottles, and a bag of potato chips crashing onto the floor.
Penn never lost a beat; in fact he kept on and even added a hysterical
adlib. Now that's a pro!
Coy Covington is another first rate performance among these talented
actors as the married executive who spends lavishly on his
wife. Covington's detail to the character is smashing, from the stiff,
rigid posture to his delightful chemistry with his wife "Vicki" (played
by Stephanie Young). One of the funniest moments comes from Covington.
Watch his "dancing" during the number "Big Black Man"; it had me wiping
tears from my face from laughing so hard. Covington also has a
comforting, touching duet with Young that brings his character arc in
full circle with pure enjoyable finesse.
Another big laugh getter of the night was Andy Baldwin as "Ethan". This
guy had me laughing so hard I thought I was going to have to go to the
bathroom. Baldwin was another thespian who kept himself in complete
character from his first entrance to his last. Ethan is slightly goofy
but with such warm, loving appeal you can't help but adore him. Baldwin
provided the best physical comedy of the night with his awkward dancing
and his constant attempts to pull off a Donald O'Connor trick. But
Baldwin also warms you heart in the ballad (with Wischhusen) "You Walk
With Me".
Within the women of the cast, Lynn Ambrose and Stephanie Young glittered
brightly and matched the men of the company in talent and comedic
skills.
Ambrose portrayed "Jeannette", an old Vaudevillian hoofer who just
showed up for the auditions, with Casio in hand. On Broadway the great
Kathleen Freeman originated the role. I still today strongly feel she
was robbed of the Tony for that performance. Sadly Ms. Freeman would
pass away a few months after closing MONTY on Broadway from Cancer.
Ambrose is younger, so some of the references and jokes regarding
Jeannette's career and life don't match up. Nonetheless Ambrose slays
the house with her dead on zingers throughout the show. A bawdy, no
holds barred lady who tells you like it is.
Young has the best female number of the night with the comic riot fest
called "Life With Harold". Ms. Young (who looks very sexy with her
blonde mane and stiletto heels) sings with verve and gusto, consuming
every comic line like a comedic pro. Her chemistry with Covington is
extremely believable; they make a great couple on stage.
I would say the only minor quibbles of the night would be some of the
vocals and at times the lighting. Some of the performers had vocals that
at times sounded exhausted and tired. There were times during the
evening where you could not hear them or the notes came out a slightly
raw and scratchy. But again this was only here and there.
Finally the lighting design had some dark patches on the stage, causing
shades across the actor's faces, unable to see them. During some numbers
the individual lighting came up at strange times or was not in sync with
the action on stage-but again a minor quibble.
THE FULL MONTY at Theatre Three is a total smash hit. It has filled to
the brim extraordinary performances, a knock out book and score, sublime
musical direction, and one of the best-directed musicals I've seen all
year long.
In last week's review of THE NORMAL HEART (Uptown Players), I wrote that
it was one of the best dramatic plays of the year; suffice to say THE
FULL MONTY at Theatre Three is one of BEST musicals of the year. This is
the sort of production that shows what brilliant talent we have right
here within the metroplex.
You cannot miss THE FULL MONTY; a production that is this marvelous is
what makes the art of musical theater so spectacular!
GRADE: A+
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THE FULL MONTY plays through August 27, 2006.
Regular Performances: Thursdays & Sundays at 7:30 p.m., Fridays &
Saturdays at 8:00 p.m., Saturday & Sunday matinees at 2:30 p.m.
Additional special performance:
The Hooky Matinee: Wednesday, August 16 at 2:00 p.m. All tickets $10
Ticket Prices: $10 -- $35 (July 27 - August 20, 2006)
Tickets may be purchased by calling T3's box office at 214-871-3300,
Option #1. Tickets may be requested online at
www.theatre3dallas.com
To Contact Theatre Three:
By post: 2800 Routh Street, Suite 168, Dallas, Texas 75201
By phone: 214-871-3300 / By fax: 214-871-3139
By email: admin at theatre3dallas.com |
