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| From Left: Tyler Oshiro, Zachary Centers, Brandon B. Weaver (on floor), Tanner Norbury, Mark Putnam, and Keith White. |
By Tina Arth and Darrell Baker
While many of their shows are typical of traditional
community theater offerings, in recent years Theatre in the Grove has also
taken some pretty significant risks (think August
in Osage County). However, nothing we have seen on a local stage can touch
their current production, The Full Monty,
for uninhibited, go-for-broke ballsiness (pun intended). Director Ken Centers
and his amazingly courageous cast have set a new standard for cheekiness that
will be hard to top.
Based on the original 1997 film, the musical version is
transplanted from England to Buffalo, New York, where six out-of-work steelworkers,
depressed and emasculated by unemployment, decide to emulate a troupe
Chippendales dancers to raise some quick cash. The opening number sets up the
fundamental problem – unlike Chippendales stripper Buddy (Dean Dwinn), the
steel workers are anything but buff and they really can’t dance. This is
not a Disney show with a “Mighty Ducks” ending, so the second act brings no
magical transformation (at least physically) of the ugly ducklings – but the
psychological transformation is stunning. Wives, ex-wives, and 1000 other
locals form a raucously appreciative cheering section for their hometown
strippers when they learn that (unlike the Chippendales boys) the “Hot Metal”
guys will go “the full monty” – take it ALL off.
Each of the six steelworkers (Tanner Norbury, Brandon B. Weaver,
Zachary Centers, Mark Putnam, Keith White, and Tyler Oshiro) brings a unique
character to the stage, but their real strength is in their comic exchanges and
in the vocal and dance ensemble numbers.
Tyler Oshiro (as the exceptionally well-endowed “Ethan”) is hilarious in
his fruitless but persistent attempts to emulate Donald O’Connor’s wall climbing
routine, yet he displays surprising warmth and sensitivity in “You Walk With
Me” with Zachary Centers (“Malcolm”). Centers, Norbury (tough guy “Jerry”) and
Weaver (the somewhat corpulent “Dave”) are exquisitely droll in “Big Ass Rock,”
one of the show’s funniest numbers. Once seen, we may never rid ourselves of
the image of Weaver sitting on the toilet wrapping himself in Saran Wrap - but
why would we want to?
Of course, it’s not all about the guys – there are several
remarkable women in the cast. Alison Luey (Dave’s wife “Georgie”) brings the
audience to tears in her beautiful reprise of “You Rule My World” with Wendy
Bax. Leslie Collins (“Pam”) conveys, with surprising subtlety, her lingering
fondness for ex-husband Jerry. Best comedienne honors go to Pruella Centers,
whose crusty “Jeanette” delivers the bluesy “Jeanette’s Showbiz Number” and
some great one-liners. However, Lindsey Bruno (“Estelle”) offers stiff
competition when she drops trou to use the men’s urinal. Deven Rieck also merits special recognition
for his understated but often intense performance as Jerry’s 12 year old son
Nathan.
Choreographer Jeananne Kelsey and vocal director Tiara Herr
have done a fine job of whipping their talented raw material into a cohesive,
but necessarily still raw and chaotic,
ensemble. The orchestra provides well-modulated support throughout, and they
really cut loose at the beginning of each act. Ken Centers’ direction keeps the
action moving constantly, with spotlights on small vignettes distracting the audience
during scene changes. Lighting designer Ward Ramsdell and lighting operator
William Gilbert brilliantly allow the cast to pull off The Full Monty’s full monty without violating public decency
standards.
While definitely not family fare (please leave the kids
home!), The Full Monty is lots of
fun, terribly funny, and (despite some raunchy language) really very tasteful
and at times quite touching. Local audiences are not likely to have another
chance to see this show, so grab your seats while they are still available!
The Full Monty is
running at Forest Grove’s Theatre in the Grove through May 3d with performances
Friday and Saturday at 7:30 p.m. and Sunday matinees at 2:30 p.m.
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