The Full Monty

The Alhambra

THERE'S a particularly touching scene in The Full Monty when a middle-aged, out-of-shape bloke turns up to audition for the ramshackle troupe of male strippers made up of unemployed steel workers.

Clumsily stripping down to a grubby vest, before folding up his shirt and placing it on a chair, he realises he can't go any further. "Sorry lads, I'm just desperate," he says. Like them, he has lost the only job he ever knew - in the steelworks of Sheffield - and with that went his hope and dignity too.

Adapted by Simon Beaufoy from his screenplay of the hit film, The Full Monty is a tale of desperation. As Beaufoy says: "Who would have thought a film in which there is impotence, unemployment, despair and suicide attempts would be described as 'feelgood'?"

But this is, of course, a feelgood play, largely because of the merciless brand of northern humour that gets these men through.

Cast aside from an industry that has shaped them and their community, their sense of identity has been chipped away. But each of them still has a shred of self respect, and that is what they cling to as they go along with a desperate plan that might just work.

By the final scene, when the guys are strutting around to Tom Jones's You Can Leave Your Hat On, we're with them all the way. Quite literally, as it turns out...

Directed with grit and charm by Jack Ryder, and sparkling with Beaufoy's memorable lines, this is a quality production, with Robert Jones's urban-industrial set a stark reminder of the fading Steel City.

Yes, it's cheeky - the score includes classics from the film, not least Hot Stuff and You Sexy Thing - and of course much of the audience is made up of shrieking women who, beyond the 'fourth wall', become a collective character in themselves. But this is also a poignant play about male issues - depression, poverty, despair, losing access to children, confusion over sexuality. Redundancy has hit them hard, from the crane operator who took protective pride in his machinery to the middle-manager who still gets up and puts on a tie each morning for a job that no longer exists.

Local talent shines in this production. Bradford's Chris Fountain gave a delightfully endearing performance as chirpy Guy, comfortable in his skin and his sexuality, while Horsforth actor Anthony Lewis was heartbreaking and hilarious as poor, plodding Lomper, lonely security guard of an abandoned mill. And Pudsey's Andrew Dunn was perfect as white-collared Gerald, sinking into desperation.

Gary Lucy as troubled father Gaz carried the action along in strong, capable hands, striking the right balance between laddish humour and a burning desire to make his son proud. Kai Owen was a gem as big Dave, wrestling his own demons back home, and Louis Emerick stole our hearts as Horse.

A strong performance too from young Felix Yates as Gaz's son, Nathan.

A cracking show that will bring a lump to your throat and have you laughing out loud.

Runs until Saturday.