When we last left Matunuck Beach Road post-'Chorus Line', More Teeth was sadly disappointed. The opening show at the venerable old barn by the sea had always been a bastion of quality Summerstock, but 'A Chorus Line' left us wondering if Bill Hanney's team had lost the plot and was just settling for churning them out for the quick seasonal dollar.
Perhaps it was the bad taste left in our mouth from that experience (and no open invitations from an understandably ruffled TBTS staff based on our less than favorable review) that we were not in attendance at either 'Hello Dolly' or 'Little Shop'. Word of mouth on both of those shows was decent, but there were also some who said they enjoyed 'Chorus Line', so we assumed that there is never any accounting for taste, including ours. Well, 'The Full Monty' was always the odd man out in this season's otherwise predictable lineup, so the curiosity factor is there from the outset and a trip to the shore and a nice dinner at The Bistro is worth suffering through anything. And, maybe...just maybe...TBTS got it together over the long, hot summer and managed to relive the glory days. (Although, they didn't used to have to take off their pants back then to wow a crowd.)
We Suddenly Have A Lot Of Glimmer...
'Monty' Director Russell Garrett is quick to remind us that the musical version of this show is based on the film, not the other way around. And, of course, we're supposed to care about these guys and their all-too-human frailty. They're unemployed, overdue on child support, losing their self-respect and unable to cope with their wives' undying devotion (which doesn't seem to stop any of them from groping the Chippendales. All good clean fun when women do it...) The old stripper-with-a-heart-of-gold cliché turned on its head...and it works.
Unlike More Teeth's previous problems with cast and casting at TBTS, this ensemble is practically spot-on perfect. Although still in previews when we went, the opening number, "Scrap", hits strong and didn't suffer from the slowly-get-going inertia that most large opening numbers tend to have until the show gets rolling past opening weekend. Each of the men delineates their character well enough to tell them apart immediately (a feat not as easily accomplished by the ladies in the following number, "It's A Woman's World"...not until the second act did we truly latch on to most of them).
The segue from "Scrap" into "Woman's World" is one of many deftly accomplished scene changes which showcase Peter Barbieri Jr.'s (does he use the Jr. in real life, or just in programs???) clever set pieces. If anything, the set is so well designed and executed by TD Nick Nevola and crew, the opening of the show looks amateurish and high school by using the house curtain to show us the stage at Giordano's nightclub. (Not that the AARP set in the audience minded...Taavon Gamble elicited such a feverish reaction during his strip routine at the top of the show that More Teeth felt a little threatened by the intensity of the two septuagenarians next to us...we're sure they would have ground their teeth to rubble had they not been plates.)
Aside from Gamble, the first character we get a glimpse of is one of the abovementioned females who fail to grab us from the start. Libby Tatum's Georgie Bukatinsky looks and sounds like a teenager playing the part of an oversexed housewife and the red velour curtain didn't help to detract from the feeling that we were watching a drama club production. Would one extra set piece have mattered? Probably not. We're sure that it was only because we were not as caught up in Gamble's PG-13 routine as the rest of the crowd that we even noticed this lack of finesse. Tatum recovers from her bad first impression by the second act and by the time the touching duet "You Rule My World" is reprised by Georgie and the exceptionally hilarious Vicki Nichols (Erin Romero), she carries far more gravitas than we originally give her credit for.
The main thrust (all puns intended) of the story, of course, is Jerry Lukowski, the deadbeat dad who substitutes scheming and dreaming for actual work. This particular type of anti-hero will always win in these particular types of comedies through sheer pluck and gosh-darn lovability. In real life, Jerry would have been cited for contempt of court and forced to take that WalMart job in order to pay the back support. But in this world, he manages to get it together and even have the ex-wife, the girlfriend and the future stepdad cheering him on by show's end. All for showing his junk. But we're along for the ride as well, and Scott Guthrie makes us believe every moment. More Teeth actually wanted to tell this loser to get it together for god's sake...but then have a beer with him. As with most male leads, Jerry (and Guthrie) fare best when bouncing off of others. His first major number, "Man" is a plot mover and pivotal, but it's one of many numbers Jerry is forced to give us that make us feel like we're eating our broccoli so we can get to the pudding. By the time we get to "Big-Ass Rock", however, we find ourselves actually smiling broadly. Not because it's funny (which it is-in spades), but because we're now thoroughly enjoying a great performance by a talented, well-cast group of actors.
And we get these moments again and again. The aforementioned Erin Romero chews the scenery so expertly that we'd pay just to see her do a one woman show as Vicki. And then we have the showstopping Horse (Richard Waits). "Big Black Man" is so audacious and full of James Brown-esque false stops, that it's hard for anyone to retake focus afterwards. "Michael Jordan's Ball" closes Act One, showcasing Chris Saunders' athletic choreography and what could have been a clumsy mess actually manages to work.
Act Two offers fewer highlights until the joyous finale, but the women do get to redeem themselves somewhat and stand out in higher relief. Ellen Karsten's hard-drinking, hard-smoking, foul-mouthed accompanist Jeanette is in a league of her own throughout. And among the ensemble, Rachel Lomax's Estelle gives the impression that she didn't have to reach too hard to nail this small but amusing piece of character work. And, we're sure that Child and Family Services will be knocking on Hanney's door asking questions about Andrew Horowitz's participation in this show as the adolescent Nathan, witness to and co-conspirator in some of 'Monty' 's saltier moments.
And we could go on...Jason Loete was born to play the nebbish Harold Nichols...Managing Producer Joel Kipper occupies the stage nicely as the frail Malcolm and his later scenes with the superbly engaging Tyler Fish as Ethan provide balance to the blue-collar hetero energy that infuses the production...Jean-Pierre Ferragamo's Dave Bukatinsky channels a sympathetic version of Seinfeld's Newman and provides the perfect foil to Guthrie. This is a stellar cast and we're all invited to be a part of it, especially as the moment of truth nears and the audience becomes part of the show. Is there a payoff? Do the two ladies next to More Teeth get to see Jerry and gang in all their naked average-ness? We won't give it away, but with a production crew as tightly rehearsed as this one was, we assure you that all elements come together to leave you satisfied and willing to applaud long and loud by the time the house lights come up.
And thank you for that, TBTS. We were so worried that 'Monty' was going to be the capstone on a disappointing year for this institution. But, just when we begin to lose hope, there's always a little bit of glimmer to light the way. 'The Full Monty' gives us a light to drive home by. Which is fortunate, given the nightmare that is exiting the parking lot...but we won't let that ruin a fantastic night. Pay your child support...kiss your wife/husband/partner...tell your mama/children/friends you love them...and then Let it Go.
'The Full Monty' runs at Theatre by the Sea, Matunuck, RI, through August 29th. Tickets available by calling 401-782-TKTS (8587) or online at www.theatrebythesea.com . Ample parking and a great bistro attached. Show up early for food and cocktails and stay late for the cabaret, because you're not leaving the parking lot anytime soon...
