Let these men entertain you

The men live in postindustrial Buffalo. They lost their jobs 18 months ago at the steel plant and can’t find work.  Now what?

It’s not as bleak as it seems.  Because sometimes despair pushes you into the light. Or in this case, onto the stage. And into a lot of riotous scenes, where eventual realizations of self-worth happen with the six men in “The Full Monty,” the Gateway’s latest production.

Their metamorphoses via signing up to do a full strip for money is a roller coaster of laughs, but also pathos and vulnerability.

It’s a great show for adults that makes you think and cheer for the eventual joie de vivre expressed as the men navigate changes.

Based on the 1997 British film, it was Americanized and opened on Broadway in 2000, with a book by Terrence McNally and score by David Yazbek.

Jerry Lukowski (a terrific Rory Max Kaplan), who’s divorced and behind in child support, and best friend Dave Bukatinsky (a touching Clayton Howe), who is so depressed he just eats more, find themselves in the ladies’ room of the local Chippendales strip club. They listen to the applause. Then Dave’s wife crowds into the space with her friends. Hiding in the stalls, the men listen to them talk.

Ouch! The applause is riotous. But the discussion about them (watch Mia Gentile as Georgie, Katie Luke as Susan, Chrystal Renee Wright as Joanie and Kelly MacMillan as Estelle revel in “It’s a Woman’s World”) isn’t complimentary.

But after confident gay stripper Keno (a sinuous Franco Bianchi, prompting yelps from the audience) walks in and confronts Jerry’s homophobia with a left hook, it loosens his brains.

“We could do that,” Jerry says to Dave. “Real men, a guy walking the strip in Buffalo.” After he asks Keno, ‘How do you get sexy?’, and Keno answers, ‘Practice,’” the fun begins.

Woefully out of shape, they train—losing their balance, gasping after runs, tossing thongs over their heads, trying to look… sexy.

Jerry and Dave pull sweet Malcolm (Alex Fullerton—you want to hug him), who took a job as a night security guard at the plant, out of his car as he’s trying to kill himself. The men riff hilariously, harmonizing about ways Malcolm could do it, in the laugh-out-loud “Big-Ass Rock” (hey, this is guy humor). They avert his intentions, pledge friendship, and get him on board.

Smothered by his mother, Malcolm never had friends before, keeping his alternate lifestyle in check. But he sings a beautiful ballad after she dies, “You Walk With Me,” and is joined by his new friend, Ethan Girard, played by Justin Wolfe Smith.

It is just beautiful.

Interestingly, it’s Nathan, Jerry’s son (a terrific Gavin Gronenthal alternating with Theo Crossley), who brings his dad to a dance class with Wharton-educated former foreman Harold, who got sacked, too. (Ian Knauer unfolds from a stuck-up management type to a decent guy who helps.) Harold’s agreement pulls Jerry’s idea forward.

Now for the rehearsal.

This is where Sally Struthers comes in as Jeanette Burmeister. Struthers is a master of the gravelly voice, brilliantly timed, one-off quips as she plunks the piano, offering little snippets of her background, like, “I had a minor hit on Decca Records in 1947.”

“If you want to be in show business, you should be spayed first,” she says, just one of the jeweled tricks in her bag.  “Jeanette’s Showbiz Number” with the men mentions everyone she’s worked with, including classic icons Buddy Greco and Frank Sinatra pushing them to succeed.

When Noah Horse T. Simmons (a wondrous E. Mani Cadet) shuffles into tryouts with Jerry, Dave, Harold and Malcolm, he’s arthritic and slow. Then he tentatively unfurls his moves, like the Mashed Potato dance, spins, etc. Oh my! When he sings “Big Black Man,” it’s his hilarious double entendre jibe at you-know-what. He’s hired.

Wall-crashing wonder Ethan (Justin Wolfe Smith) joins the group with his determination to emulate Donald O’Connor’s gravity-defying “Make ‘Em Laugh” number. Oi, he slams a lot. Wolfe Smith plays a great naïve character, adding to the show’s good-natured goofiness.

Struthers’s physicality comes out when she’s on the floor trying to get up. “I won’t be taking my clothes off, but someone else will,” she says to the audience untangling herself. “They may not be young or very good, but they’re here.”

Now for the women besides Sally’s distinctive touch. Let’s hear it for Emily Brockway as the exuberantly extravagant Vicki Nichols, who really loves her husband Harold but has no clue that their lavish lifestyle is in jeopardy. Harold loves her so much he doesn’t want to tell her. Mia Gentile is terrific as Georgie Bukatinsky, who adores her husband, is yearning for intimacy, doesn’t think he’s unattractive and ultimately encourages his participation with the guys. They sing the touching “You Rule My World.”

Dakota Mackey-McGee plays Jerry’s wife, Pam—not an easy role, but Mackey-McGee creates a compassionate character. She wants what’s best for her son and as Jerry’s high school sweetheart, ultimately for Jerry.

Will the men go on with their act “Hot Metal?”

Even though Horse’s mother and minister are out in the standing-room-only crowd,  including men, with Jerry finally jumping in at the last minute after threatening defection, their confidence finally swells while wearing blue security guard costumes. “Let It Go” is their rousing, full-tilt number.

Did they go The Full Monty? You’ll have to come to see the show for that one. It’s playing until April 12. For tickets click on www.thegateway.org.