WPCNR IN THE BALCONY. Review by John F. Bailey. September 16, 2006: “Better than the original Broadway production,” was the comment of a seasoned theatregoer after having just seen Westchester Broadway Theatre’s revival of The Full Monty at the Elmsford Bistro/showcase Thursday evening.
The not so desperate housewives of The Full Monty: Dorina Dilullo as Estelle, Amy Barker as Vicki, Melodie Wolford as Joanie (Mr. Nichols’ wife), Caroline B. Younger as Georgie the hostess of Rombo’s Jerry’s wife, Nicole Mangi as Susan and Laurie-Beth Mraz as Pam, Dave’s wife, critique the “real men” of The Full Monty singing “The Goods” in the WBT revival of the show of the same name in Elmsford.
Photo by John Vecchiolla, Courtesy, Westchester Broadway Theatre.
This “distinguished member of the press,” (Thank you, emcee Steve Calleran), never having seen the original show, has to agree with the show’s stopper song that The Full Monty, energetically staged by a lampooning, mugging, naughty, cohesive, brassy, meaty hunky, hulking male collection and angelic, stylish, busty and attractive leggy female team is “The Goods!”
Caroline Younger as Georgie Bukatinsky in kinky curls, tight pants and high boots struts on stage at Rombo’s – the “women only male review club” with her Bronxy-Joisey wisecracks that spill big laughs early. Georgie introduces Buddy “Keno” Walsh, from the “Big Apple” who launches into a Chippendale-inspired male divestment that touches off a rollicking first act. Freddy Tyson Kimmel creates “Keno” – one of the show’s two signature bits — has the Chippendale thing down – and great abs, girls. The women in the audience were most appreciative! That’s just the start of this marathon 3-hour Monty – with a 30 minute intermission.
Meanwhile out in Rombo’s alley, Peter James Zielinski as Jerry Lukowski and Tad Wilson as Dave Bukatinsky laid off from their steel factory in Buffalo, linger outside of the strip club where their wives are watching the male strippers. They’re joined by other laid off factory workers who team in on a group number that laments that they’re now considered Scrap – a number that sets Jerry and Dave’s condition as the We want to thank you Herbert Hoover number does in Annie. Every dance choreographed by Director Richard Stafford and Jonathon Stahl in this show entertains, delights, and delivers “The Goods” – big laughs with the dancing moves – no pathos about them.
Sneaking into Rombo’s, Jerry and Dave hide in the men’s room and to their horror their wives and sexy friends come in and rouse the audience to laughter with their rendition of It’s a Woman’s World with great choreography and style. Meanwhile Jerry and Dave listen to all their shortcomings as the not-so-desperate housewife eye candy disses them just beyond the cubicle. It’s a funny scene that is the first house-bring-downer of the evening.
When Keno from The Big Apple leaves the club Jerry criticizes Keno’s sexual orientation, and Keno decks Dave. Dave and Jerry duet on the ode to the every man, Man, filled with humorous characterizations of what they feel is a real man – “We hate Tom Cruise but like Lee Marvin.” Out of this song Jerry hatches the scheme that he and Dave could make big money stripping for women, too. Jerry needs the bread because his wife Pam played by the cool blonde Laurie-Beth Mraz is threatening to remarry and take custody of their son away. (But, trust me – it’s funny.)
I’ve got Friends: Nick Gaswirth as Malcolm on the hood of his car, is turned around by Tad Wilson as Dave Bukatinsky, left and Peter James Zielinski as Jerry Lukowski in the number, Big Ass Rock.
Photo by John Vecchiolla, Courtesy Westchester Broadway Theatre
This segues into a marvelous bit where Jerry and Dave meet a fellow worker, Malcolm played by Nick Gaswirth, a guard at the factory, whom Dave happens to save from committing suicide – how? You’ll have to see the show. Jerry and Dave try and prove to Malcolm he has friends and prove it to him by singing the hideously funny, well-timed song Big Ass Rock — to prove what friends they are.
They decide to take dancing lessons from Harold Nichols (Joel Briel) who laid Jerry and Dave off at the factory. At the dance studio, we meet the statuesque Amy Barker playing Nichols’ wife who executes another crowd-pleasing number spoofing women’s tastes. Strutting and posing with grace and style she sings “Life With Harold” with the cajoling refrain “Love That Man.” It is a highlight that the men in audience just love. Nichols agrees to help the men learn Chippendale moves because he does not want his wife to know he is laid off, too.
The balance of the first act shows Jerry putting together his review of ordinary real men highlighted by the debut of the acid tongued comicstress, Patti Mariano who dominates the rehearsals, playing piano, as each would-be “real man” attempts to impress Jerry, Dave and Malcolm with their stripping moves.
Everyone in the World Loves a Big Black Man. David White gets show into high gear with his “audition” to be one of Jerry’s “Real Men.” Patti Mariano (Jeannette) is on the piano; Nick Gaswirth as Malcolm (in Police uniform), Tad Wilson as Dave, Michael Herwitz as Nathan and Peter James Zielinski as Jerry and Joel Briel as Harold Nickels are blown away.
Photo by John Vecchiolla, Courtesy Westchester Broadway Theatre.
The sight gags and lampooning get the audience laughing one sight gag after another – but when Horse comes on created by David White – Mr. White knocks them out – and the WBT crowd with them in the second best tune of the show: Big Black Man. Mr. White singing and moving to the tune of ZZtop’s Sharp-Dressed Man (“everyone in the world loves a Big Black Man”) introduces the audience to a segue of black moves from the James Brown glide to the Mashed Potato. The show is worth seeing just for this number because Mr. White in the divine micry approaching Eddie Murphy just brings the show into high gear with this number. He is so good in this you wait for him to come back just to see him do his stuff again.
In Act II, the boys are preparing for their first gig – at a senior citizen’s home which ends them up in a pickle. Jerry borrows from his son, played by Noah Ruff of Katonah, to stage the show. Young Mr. Ruff did a fine job of encouraging his father to put on the show. (Michael Herwitz from Irvington, plays the son on alternate nights.)
Patti Mariano delivers a character tour de force as Amy Barker does in Act One, when she reminisces about her days in Vegas in her song, Jeannette’s Show Biz Number. Georgie (Caroline Younger) and Vicki (Amy Barker) duet on You Rule My World.
“It Ain’t The Goods:” The girls critique the Real Men. Photo by John Vecchiolla, Courtesy, Westchester Broadway Theatre.
In attempting to rehearse at the Nichols’ residence the “real men” become self-concious of their bodies. In an imaginary number, their wives and the wives’ girl friends perform “The Goods,” where the women in caustic fashion critique the “real men’s” bodies for pimples on their posteriors, big stomachs, and the shortcomings that we real men have.
At the end of each outrageous put-down which every woman and man can identify, which cannot be written in a family website, the women all cross their great legs and pout to the audience “This ain’t the goods.” It’s scandalously funny. Women laughed louder than the men in the audience on this one.
Will the boys, through working as a team, bring their “Review of Real Men” together? Will they recover their self respect? As their big night approaches…well all is answered on stage at the WBT.
The Real Men of The Full Monty Performing LET IT GO– the big finale: CENTER, Clockwise: Peter James Zielinski (Jerry) David White (Horse), Brian Gligor (Ethan),Tad Wilson (Dave), Joel Briel (Harold) and Nick Gaswirth as Malcolm, on knee).
Photo by John Vecchiolla, Courtesy,Westchester Broadway Theatre.
The conclusion to The Full Monty wraps up with the big question, “Will they take it all off?” Only the CitizeNetReporter knows for sure and to find out – you’ll have to see the show to see what you see when they take it all off. The applause lasted three minutes.
WPCNR Gold Lame G-strings to the entire company for coming together in what is a team show — they seem to enjoy themselves. There is no one megastar who carries the show. The dance numbers play for laughs, the takeoffs of the ecdysiasts-wanna-be’s mimicking the hip thrusts, booty bumps and crouch and crotch contorsions of Chippendale legend are over the top– that both men and women will enjoy – perhaps for different reasons.
The set, making minimal use of backdrops is not a factor, because in this show it’s all about the performers who, like the real men of The Full Monty come together as a team.
WPCNR Silver Thongs have to go to the WBT live orchestra lead by John Daniels that sets the mood from the 50s lounge music overture to the rimshots and riffs ranging from rock, soul to thrusts and jerks. (Lady ecdysiasts bump and grind, male ecdysiasts thrust and jerk) One quibble: the sound system distorts the songs at times and needs to be addressed.
This Full Monty (which ran for 2 years on Broadway when it premiered in 2000) is Americanized, is not British in any way and delivers off-color language and situations within it. The “Real Men” and spectacular ladies of The Monty play the WBT boards for laughs through November 22, break for the WBT Christmas Show, Christmas Inn, and return to warm up winter nights again beginning December 28 and running through January 20. For information on this dinner and show, call 592-2222 or visit the WBT website, www.broadwaytheatre.com.
