Previewed 20 February 2014, Opened 25 February 2014, Closed 29 March 2014 at the Noel Coward Theatre in London
A major production of Simon Beaufoy's play with songs The Full Monty in London.
In these tough times - how far would you go? Sheffield in the 1980s. Six out of work Sheffield steelworkers have nothing to lose, but everything to gain... if they'll do The Full Monty!
Adapted for the stage by the original Oscar-winning screenwriter, Simon Beaufoy, from his smash hit 1997 film, this stage version features the songs from the film by Donna Summer, Hot Chocolate and Tom Jones.
The cast for The Full Monty in London features Kenny Doughty as 'Gaz', Craig Gazey as 'Lomper', Simon Rouse as 'Gerald', Keiran O'Brien as 'Guy', Roger Morlidge as 'Dave' and Sidney Cole as 'Horse' along with Scott Anson, Tracy Brabin, Caroline Carver, Eamonn Fleming, Elaine Glover, Rachel Lumberg and Ian Mercer. The production is directed by Daniel Evans with choreography by Steven Hoggett, designs by Robert Jones, lighting by Tim Lutkin and music and sound by Ben and Max Ringham. This production comes into London's West End following its February 2013 Premiere at the Lyceum Theatre in Sheffield and following three month regional tour.
"Never in my theatre-going life have I heard such unbridled raucous whooping and wolf-whistling as that which greeted the opening of The Full Monty at the Sheffield Lyceum Theatre... It was the atmosphere of a well-bevvied hen-night... At the play's climax, when this motley band of strippers calling themselves The Bums of Steel went the full monty, the gleeful shrieking nearly blew the roof off. Daniel Evans's stonking show works even better than the original film because it's happening for real, and there's nowhere to hide... Evans stages it superbly on Robert Jones's clever design for the silent, rusting steel factory over which hangs a blue crane, named Margaret after Mrs Thatcher; not their favourite person... All the great numbers and the best lines from the film are in place and there are plenty of new anti-Maggie jokes, thanks to Dave's wife being a cleaner at the local Conservative Club. A couple of performances wobble almost as much as Dave's massive spare tyre, but otherwise, as they say up North, it's chuffing champion" The Mail on Sunday
"Directed with an assured hand by Daniel Evans, this Sheffield Theatres production is probably critic-proof. It starts with a bang and ends in a blaze of light, and in between is rarely subtle. But, crucially, Beaufoy's adaptation (not to be confused with the Americanised musical from 2000) retains the film's bluff generosity of spirit. It's a quality hard to resist especially when you're surrounded by an audience engulfed in laughter. This manipulative, big-hearted populist comedy deserves to be a hit... Evans's cast revel in their roles... The men handle with ease the deliberately clumsy dance routines devised by Steven Hoggett, staying in character as they bump and grind like cartoons of quasi-sexiness... Broad, saucy, raucous and occasionally coy, The Full Monty is the epitome of unpretentious, feel-good commercial entertainment. It can't top the film but, happily, it equals it." The Times
Simon Beaufoy, who has adapted his film for the stage says: "It's a play about unemployment, although it was a very different and far more visible recession in the 1980s, the feelings of hopelessness and disempowerment, that you're without any prospects, are the same today. So it felt like the perfect time to bring it to the stage. It's not all doom and gloom - we hope people will leave with a smile on their face and a sense of hope. Everyone who enjoyed the film will enjoy the play. They will recognise the characters from the film and the journey they go on. I was determined to write a proper play, not just stitch together everyone's favourite moments from the film. The beauty of theatre is that we have more time, to flesh out the characters and really get to know them. But there are huge differences between film and stage productions. With film you can instantly take audiences anywhere, from the moors to someone's front room. With a play you have to bring all the action to one place, in this case an abandoned steelworks. The Full Monty was my first screenplay and now it is the first play I have written. Naively I thought 'just how difficult can it be, I've written 15 films!'. But I had to learn a whole new set of skills... I thought I knew about the craft of writing drama, but I actually went through a massive learning curve. I had to go right back to the drawing board. When I delivered my first disaster draft to the producer David Pugh, he sat me down and, over two days, very gently and very tactfully exploded everything I thought I knew. He taught me how to write a play."
Daniel Evans is currently the Artistic Director of Sheffield Theatres. His recent London theatre acting credits include Paul Miller's revival of Christopher Hampton's Total Eclipse at the Menier Chocolate Factory in 2007 and Sam Buntrock's revival of Stephen Sondheim's musical Sunday in the Park with George at the Menier Chocolate Factory in 2005 and subsequent transfer to the Wyndham's Theatre in 2006. Steven Hoggett West End theatre credits include Marianne Elliott's production of Mark Haddon's The Curious Incident of the Dog in the Night-Time at the National Theatre in 2012 and subsequent transfer to the Apollo Theatre in 2013 and John Tiffany's stage production John Carney's Once at the Phoenix Theatre in 2013.
The Full Monty in London at the Noel Coward Theatre previewed from 20 February 2014, opened on 25 February 2014 and closes on 29 March 2014.
The Full Monty the Musical - 2002
Previewed 27 February 2002, opened 12 March 2002, closed 23 November 2002 at the Prince of Wales Theatre in London
Broadway's feel-great stage musical version of The Full Monty in London - A group of unemployed steelworkers in Buffalo, New York are miserable. They have no cash and no prospects. Meanwhile, they catch their wives and other women going crazy over male strippers during a "Girls' Night Out." Thus the men then set out to make some quick cash by showing off their 'real man' bodies as a team of male strippers. As the guys work through their fears, self-consciousness and anxieties they come to discover that not only are they stronger as a group, but that the strength they find in each other gives them the individual courage to face their demons and overcome them.
Featuring an original award-winning score by David Yazbek, The Full Monty follows the lives of six working-class heroes from Buffalo, New York, who have a lot to offer and nothing to lose - but their clothes! Four-time Tony Award winner Terrance McNally has adapted the most successful British film of all-time into an hilarious and touching stage musical. The stage musical version of The Full Monty features music and lyrics by David Yazbek with book by Terrence McNally based on the movie. Directed by Jack O'Brien with choreography by Jerry Mitchell.
"On Broadway it's a famous show. Over here it is best known as the most successful British film ever. How strange that it should be re-exported from New York to the West End as a musical, complete with lyrics and songs not in the film... The great bonus is that the raunch factor is better on stage than in the film... The live production soon makes you forget all about the film. The story here is cheesier - it is a Broadway musical, don't forget - but it is a lot funnier, thanks to the live audience feedback... The great thing about the show is its sense of wit. The music and lyrics by David Yazbek marry up a treat... for all its sentimentality, it is a touching and rampageous show that gets back to basics. It should put the pose back in the West End's pouch all right." The Daily Express
"Jack O'Brien's production convinces you that being without money in a country with no safety nets is not only perilous but may lose an estranged husband his son. That's the predicament in which Jarrod Emick's Jerry finds himself, and that's why he dreams up the dollar-spinning idea of transforming himself and his colleagues into Buffalo's Chippendales. His is a warm, attractive performance; but he doesn't do as much as Robert Carlyle in the movie to conceal the sentimentality of the situation, and he hasn't the opportunities for fun of some of his fellow actors... Yazbek's tunes are, I suppose, not too memorable; but, starting with a testosterone-packed elegy to the awfulness of being on the scrapheap, they often have energy and punch. Broadway energy, plus a lot of laughter and our own Dora Bryan as a fey seeming pianist with a bold tongue, is what the show delivers... The plain truth is that The Full Monty is as enjoyable a musical as London now offers." The Times
"The first thing that ought to be said about the musical The Full Monty (apart from the fact that it is very good) is that it is not in competition with the film. True, the basic story line... remains the same... But the stage show stands firmly on its own feet... you never feel that you are watching an adaptation. Its most obvious asset is its humour... and though Terrence McNally's book simplifies the more serious aspects of the story, it doesn't falsify them. There is genuine pathos and tenderness... The score, by Dave Yazbeck - who also supplies some nifty lyrics - is bold, rock-inspired and energetic. (Anything more sedate would have been inappropriate.) A striking backdrop of steel-mills, designed by John Arnone, recalls the paintings of Charles Sheeler. Jack O'Brien's production sustains a muscular, blue-collar feel, but never lets you forget that the whole thing is also a fairy tale." The Sunday Telegraph
"The American musical of The Full Monty... is, on the surface, so different from the British movie as scarcely to be recognised. It is often loveable in much the same way that the movie was: vulnerable, defensive provincial men trying to cope with unemployment and self-exposure and embarrassment. And sometimes this Full Monty is loveable in the particular way that only an American show can be: a combination of energy and directness, a particular kind of cuteness, a certain cartoon-caricature treatment of most of its supporting roles. And occasionally this Full Monty is loveable in the way that only a good musical can be.... I like the sheer theatrical effectiveness of David Yazbek's songs and lyrics: they don't stay in the memory or extend the lyric art, but they pack a smart punch while you're in the theatre with them." The Financial Times
"The much-loved, willy-won't-he British movie The Full Monty has been turned into a deliciously camp, feel-good Broadway musical. Relocated from Sheffield to Buffalo in New York State, it's the story of steel workers on the employment scrap heap, depressed, emasculated, short of bucks and low in self-esteem - until the idea of stripping off to the tune of $50,000 gives them a thong to sing and dance about. While the structure doesn't stray far from the original, the tone is distinctly different. Less grittily bleak and angst-ridden - the American scrap heap appears to be more comfortable than the British one - David Yazbek's smart, cheeky lyrics and sassy music strike a much more raunchy note. Yazbek is an exciting musicalcomedy talent... Yazbek's humour and lack of coyness or prudery is refreshing... Terrence McNally's book lifts some of the ideas from the movie verbatim, with mixed results. That glorious movie moment where the men break into an impromptu dance when they hear Hot Stuff while waiting in dole queue gets lost in translation to a graveyard scene. I could have done without the expansion of the role of the piano accompanist into a comedy turn for a slightly creaky Dora Bryan and the characterisation of the women as comic-strip squawkers is irritating. Elsewhere, the musical draws triumphantly on its new context... The climactic strip when the men Let It Go - holding nothing back - raises the roof. Uplifting, light-hearted fun." The Mail on Sunday
The Full Monty in London at the Prince of Wales Theatre previewed from 27 February 2002, opened on 12 March 2002 and closed on 23 November 2002.