The Full Monty is a more thoughtful examination of how
masculine self-worth is inextricably tied to economic self-sufficiency
than one might expect from a musical with a titillating title that
suggests something more frivolous than profound.
The reversal of
roles that takes place, with the women in the lives of several of the
male principals taking on a more dominant position, exposes the hubris
and folly of traditional male thinking – and at first blush smacks
somewhat of man-bashing.
But, as the story progresses, the male
ability to adapt and overcome adversity through bonding and team effort
is given the recognition it’s due – and even celebrated.
The male
cast is exemplary in their ability to portray a believable working class
sensibility, and their female counterparts are equally strong. Kudos to
lead actor Joshua Fryvecind (as Jerry Lukowski), who imbues a
blue-collar persona with a sympathetic core, and whose assured
vocalizations are reminiscent of Don Henley.
Mr. Fryvecind is
given strong support by the entire troupe, including C.J. Dion (Dave
Bukatinsky), Helen Laroche (Georgia Bukatinksy), Leslie Waggoner (Pam
Lukowski), and David Mister (Malcolm MacGregor). And scene-stealing,
comedic turns by Cami Thompson (Jeanette Burmeister) and Wendell H.
Wilson (“Horse”) serve the show well.
While the songs may be less
than memorable, they are effective and enhanced by some exceptional
singing, truly imaginative choreography by Mary Kalita (with the
delightful “Michael Jordan’s Ball” scene among her many highlights), and
by the invaluable contributions of musical director Ben Prince and his
band of talented musicians.
Another solid entry from the talented folks at Ray of Light Theatre Company.
