Celebrating the 25th anniversary of the release of the classic 1997 film, Simon Beaufoy’s stage adaptation of The Full Monty arrived at the Alexandra Theatre in Birmingham for a five-day run between Tuesday 30th January and Saturday 3rd February.

The Full Monty follows the journey of six jobless men in 1990s Sheffield who must turn to male stripping to provide for themselves and their families. As an audience member who had not engaged with the source material, I was intrigued and apprehensive by the show’s central storyline, unsure whether the play would quickly transform into a prolonged male strip show. While the stripping sequences were performed with delightful playfulness and enthusiasm, in The Full Monty I found an uplifting, funny and poignant exploration of friendship, masculinity and hope in difficult circumstances.

The play’s focus is not on the act of stripping itself but on the lives and bonds between the performers, their reasons for choosing such a path. Danny Hatchard brings a charming vulnerability to the lovable rogue Gaz, making him a compelling protagonist worthy rooting for. Some of Hatchard’s best scene are shared with Gaz’s partner in crime Dave (Neil Hurst),a self-deprecating, obese former crane operator. When Dave risks becoming a stereotype, Hurst’s performance wins audience’s affections through Dave’s journey of learning to love himself and his body by stripping. The six actors share an easy on-stage chemistry which is reflected in the palpable bond between their characters who in the face of a crisis of masculine identity become each other’s friends and support networks.

Beaufoy’s script is punctuated by slapstick humour and visual gags, exploiting the potential for penis-related laughs to the maximum. Elderly pensioner Horse’s (Ben Onwukwe) attempts at erotic dancing combined with an arthritis problem was a particular highlight. While always eliciting laughs from the audience, the humour of the show works best when paired with emotional material enabling the sensitive exploration of topics such as sexuality, depression and financial hardship. The aftermath of 1980s Thatcherite policy on the industrial north looms large in Jasmine Swan’s set design. Utilising a multi-functional, moveable steel-work structure as the basis for the set ensures quick, seamless scene transitions and highlights the significant role industry played in the makeup of Sheffield, its collapse forcing workers to adapt to a changing, declining economic climate.

The Full Monty is a story which quickly entered the public consciousness upon its film release in 1997 and feels particularly potent during the current cost of living crisis. It is a play with a large heart and will leave you feeling warm and touched by the men’s transformation. The next stop on The Full Monty’s tour is Cliffs Pavilion, Southend-on-Sea and will continue to travel around UK cities until April 2024.

Rating: 4.5/5

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