WHAT “The Full Monty,” by Terrence McNally and David Yazbek
WHEN | WHERE Through March 5. Upcoming: 8 p.m. Thursday and Friday, 3 and 8 p.m. Saturday, 2 p.m. Sunday, John W. Engeman Theater at Northport, 250 Main St.
TICKETS $71-$76; 631-261-2900, engemantheater.com
In “The Full Monty,” six unemployed, middle-age men are so desperate for the dignity of earning a wage — even for just one night — that they strip naked in front of friends, family and everyone else they know in their hometown. The Tony-nominated musical, based on a British film, is played for laughs. And waves of opening-night laughter were generated at Northport’s Engeman Theater.
Laid off from a failed Buffalo plant, steelworkers hatch their short-term enterprise after seeing their wives thrilled by Chippendale strippers. For their striptease, they’re dressed as faux cops, hats and all.
Brent Michael DiRoma as Jerry and Ryan Dunkin as Dave, along with Peter Simon Hilton as Harold, their former boss — also laid off — embody the emotional investment these men have in their harmlessly public humiliation. Jerry, separated from his wife (Kate Marshall) and in child-support arrears, has the most at stake. He could lose shared custody of their son, played wise beyond his preteen years by Kyle Wolf. DiRoma invites us to own his pain, fortifying comedy with poignancy. Dunkin as overweight Dave lets us feel his self-consciousness about his body. But it’s his neglected wife, an empathetic Nicole Hale, who suffers his self-loathing about layabout unworthiness. Meanwhile, Hilton’s tortured Harold hasn’t told his wife (Gaelen Gilliland) that they can’t afford the high life anymore.
The guys recruit unabashed Malcolm (Spencer Glass) and Ethan (Noah Bridgestock) as unlikely partners, plus Milton Craig Nealy as “Horse,” a comically stereotypical “Big Black Man.” Together, they pledge to outstrip the Chippendales. All but stealing the show aboard DT Willis’ industrial set is their piano accompanist (Diane Findlay), who’s seen and done it all. Andrew Haile Austin and his six-piece band do the actual playing.
As directed by Keith Andrews and choreographed with naked split-second timing by Antoinette DiPietropolo and crucial backlighting by Doug Harry, it’s a blessed relief to laugh out loud as the men “Let It Go,” doffing even their hats.
Their humanity far outstrips their tease.