Baring It All for Bucks

The Full Monty–by Theo Unique

Baring It All for Bucks

The sad state of how unemployment impacts the life of the average Joe provides the conflict in many recent stories. Whether set in Sheffield, England, where the original film takes place, or Buffalo, NY, the setting for this musical version, joblessness not only results in poverty, but causes depression and issues of self-respect. Multi Tony Award-winning playwright Terrence McNally adapted and Americanized the original British screenplay for the stage eighteen years ago, and the show’s sassy and exciting musical score is by David Yazbek (“Tootsie,” “Dirty Rotten Scoundrels,” “Women on the Verge of a Nervous Breakdown”). Despite the bleak hopelessness that inspires this musical, we have a story of friendships, of a nurturing father and son relationship, of love and caring and about how desperate times often call for desperate measures.

A group of hopeless, unemployed steelworkers, struggling to pay their bills, their alimony, their child support and still somehow manage to put bread on the table, begin to lose their spirit and self-respect. Unable to provide, the men start to feel like “Scrap,” while watching their sense of masculinity disappear. When a local appearance by the Chippendales creates unexpected excitement among the women, this group of out-of-work men decide to cash in on the idea and form their own local, all-male troupe of strippers. To make their act even more provocative, they advertise that they’re going all the way. They’re not just stripping down to g-strings, like the professionals, but the men promise to provide audiences with the full monty.

Fred Anzevino has directed this musical with obvious feeling and forcefulness. Emphasizing the heart and high stakes that guide this play, Mr. Anzevino has drawn some very good performances from his cast, while allowing the humor to naturally flow from the situation. This is the opening of the theatre’s new season, as well as the company’s inaugural production in their new Evanston home. Sawyer Smith’s terrific choreography, a highlight of this show, is effervescent and filled with the kind of exotic gyrations, bumps and grinds one expects from this piece. Jeremy Ramey’s musical direction is, as always, dynamic and spot-on. There are some lovely harmonies and several excellent solo and group numbers. His wonderful five-member band, set to the right of the stage, is solid, although sometimes they tend to overpower the singers.

 There’s also a few problems with pacing in this production. Ben Lipinski’s scenic design seems to allow for a continual flow of action, without the need for blackouts and mood-busting pauses. But some reason there are often short interruptions in the storytelling, moments when the audience sits in semi-darkness while waiting for a wall to be moved or props to be set. In addition, a few of the scenes in this production are staged down the center aisle, bringing the play closer to some of the theatergoers. But, for patrons seated far left and right on the main level, these scenes become obstructed by patrons. When the action returns to Lipinski’s proscenium stage the sight-lines are no longer a problem. Also, in this new venue, the theatre’s seating capacity has been expanded, increasing potential ticket sales, but sadly losing much of the intimacy of the No Exit Cafe.

The production’s ensemble of actors are all very good, with some standout performances. Leading the cast is Matt Frye, who was last seen in Circle Theatre’s “The View Upstairs.” Mr. Frye is particularly strong and affecting here as Jerry, who comes up with the idea of baring it all for big bucks. He tries to convince his buddies that they, too, should form an ensemble of all-male exotic dancers. Matt’s affecting relationship with his tween-age son, Nathan, feels honest and provides the true heart of this show. Mr. Frye’s finest musical moment is his beautiful ballad, “Breeze Off the River,” sung to his sleeping son. The song is simply accompanied and filled with truth and emotion. Nathan is nicely played by Sean Zielinski, in his Theo Ubique debut. Nick Druzbanski brings gravitas, determination and empathy to his portrayal of Dave, Jerry’s kind, body-conscious buddy. The chemistry between these two friends feels genuine and creates the foundation of this musical; their songs “Man,” “Big-Ass Rock” and the touching “You Rule My World” are some of this production’s other musical highlights.

Kate Harris, also making her Theo Ubique debut, is quite funny in the scene-stealing role of Jeanette, the showbiz veteran and pianist who provides more than just musical accompaniment for her team of amateur dancers. Ms. Harris’ dryly humorous “Jeanette’s Showbiz Number” opens Act II on the perfect note. Marc Prince is terrific as Horse, the African American man with the golden voice and the right moves. Brassy-voiced Emily Barnash and Chicago favorite, Jonathan Schwart, both make their debuts with this company, as a funny, but lovingly devoted couple, Vicki and Harold Nichols. When Harold, the former plant manager, is discovered taking ballroom lessons, he’s grudgingly persuaded to join Jerry’s dance troupe as their choreographer. Talented Molly LeCaptain is beautiful as brassy belter Georgie, Dave’s patient and caring wife, and Anna Dvorchak plays Pam, Jerry’s wife, with spunk and spirit. 

One of the strongest performances in this production is provided by Joe Giovannetti, as Malcolm. He’s a closeted mama’s boy who, upon losing his job at the plant, sees suicide as his only way out. Mr. Giovannetti is sweetly sincere and so likable and truthful as a young man coping with personal problems only he understands. Giovannetti’s superb and sensitive rendition of “You Walk With Me,” performed with the excellent Neil Stratman, as Ethan, brings the audience to tears.

This is musical is just what we need nowadays. It offers the average theatergoer a funny, often touching story that’s as relevant as today’s headlines. The show’s highlighted by a toe-tapping musical score that’s guaranteed to send folks out of the theatre humming and smiling ear-to-ear. This excellent theatre company, now in its new, expanded Evanston home, keeps outdoing itself. Fred Anzevino continues to offer Chicagoland excellently-produced, well-performed musicals that both impress and inspire his audiences. Mr. Anzevino also challenges his actors and collaborative theatre artists to always strive for their personal best. The company still offers the option of a show-themed dinner package, with the cast serving as waitstaff.   With the exception of some sound issues and a bit of difficult staging, this timely musical about real people is relatable and a real winner.

Recommended

Reviewed by Colin Douglas

Presented December 10-January 27 by Theo Ubique in their new theatre at 721 Howard Street, Evanston, IL.

Tickets are available at the box office, by calling 800-595-4849 or by going to www.Theo-u.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.