The Full Monty - Norwich Theatre Royal
There is so much more to this stage version of The Full Monty than a titillating knock-off Chippendales show
Norwich Theatre
It is hard to believe that 'The Full Monty' is now twenty five years old. Since its cinema release in 1997, the film has remained as something of a beacon, a powerful reminder of working class pride and familial responsibility in the face of Margaret Thatcher's deindustrialisation of this country. And whilst the title has entered the English vernacular, the essence of the film's political statement has remained, hardened even, becoming yet more relevant to the survival of the human spirit.
Not that the audience at Norwich Theatre Royal were here to muse on the decline of the British steel industry. The only ferrous connection that many here were looking to make was with reality TV star Jake Quickenden's own 'buns of steel', in all their Sheffield glory, as he recreates the part of 'Guy', made famous by Hugo “The Lunchbox Has Landed” Speer.
But, in between the quick snatches of classic 90's tunes – 'Flashdance', 'Hot Stuff' and 'You Sexy Thing', there was a warmth and poignancy brought to life by this cast, led by Eastenders' actor Danny Hatchard as 'Gaz', Corrie's Bill Ward as 'Gerald', Neil Hurst as 'Dave', London's Burning's Ben Onwukwe as 'Horse' and Nicholas Prasad as 'Lomper'. Each inhabited their character’s space and story with an assured mix of comedy and gravitas, and with sensitive direction of Simon Beaufoy's script by Michael Gyngell. But the real star of the evening was young Cass Dempsey who played the part of Gaz's young son Nathan. He was a confident and charismatic presence throughout, a genuine live-wire of a lad, standing sharply, shoulder to shoulder, with the rest of the cast.
The towering steel structure, designed (alongside the costumes) by Jasmine Swan, becomes an additional member of the cast – dominant as the interior of the redundant steel mill and foundry, but capable of coming apart and opening up to become a job centre, a terraced street, or a working-men’s club on demand.
But, ultimately, there is only one way that any stage production of 'The Full Monty' is expected to conclude. And so it did. To the legendary sound of Tom Jones' 'You Can Keep Your Hat On', and to the unrestrained delight of a very loud and mostly female audience, the final reveal is delivered with expert panache and an intense flash of modesty-sparing incandescent back-lighting – full credit to choreographer and intimacy director Ian West for a job well done.
But there is so much more to this stage version of The Full Monty than a titillating knock-off Chippendales show. By all means go for the thrill, but come away with the message.
