Association of Community Theatre

Show Reviews 2017


PADOS Theatre Group


Director. Mark Rosenthal

Musical Director. Sarah Osmond

Dance Director. Helen Marland


It has become the norm to take a successful film and turn it into a musical these days. The Full Monty, the Musical, moves its location from Sheffield to Buffalo, America. All the characters and storyline have stayed pretty much the same. All the music fits the new concept adding weight to the drama, but the songs, however, are instantly forgettable.

This group’s newly refurbished venue, the Met Theatre, Bury, has created a stage space that provides a proscenium stage presentation. This is so much better for an audience. The band is no longer screened off in the auditorium: it is housed elsewhere and mixed in through the sound system. This can only enhance the audience’s experience.

The gritty looking hired scenery (no company listed) set the earthy tone of the piece, and the costumes complemented the look. The only colour came from the girls as they dressed in their best for their “girl’s night out”. Stage manager George Bellis and his crew made sure everything ran smoothly.

Direction brought out the reality of the characters and their situations; I think a little work was needed on dialogue delivery. Choreography evoked the concept and was well put over. The music content was of a high level; played by an excellent band, the tempi were just right.


Out of work steelworkers in need of cash, jealous that their women folk enjoy watching male strippers, decide to do the same. In their journey they discover more about themselves which makes them stronger finally to “let it go”.


Their wives were, Pam – Sarah Ashworth, Georgie – Francesca Astley and Vicki – Angela Grady. They were all equal in performance showing loving and sometimes complicated relationships with their husbands.


The men’s voyage and emotional exposure were honestly portrayed. David Livesey brought out all the anguish of the separated Jerry Lukowski, fighting for custody of his son Nathan. Matthew Crossley-Walsh gave a strong portrayal as Nathan. Uncomfortable about stripping because of his body image Dave Bukatinsky’s soul searching was captured by Chris Addington. Lovers of “The Sound of Music” Etham Girard and Malcom Macgregor, find out about each other and become one in spirit. This was tentatively delivered by Robert Armstrong and Daniel Winters. Soul brother “Horse”, played by Leroy Liburd, was a cool dude. .Someone had to be in charge of movement and Harold Nicols is made dance captain. Michael Mills was believable playing the “Strictly” mover, Harold.


The only other woman in all their lives is their rehearsal pianist Jenette Burmeister. Jane Leggat. as Jenette. gave a whole new meaning to “tickling the ivories”.


When they have overcome their inner demons the men are ready to face their audience. To get to this point in the musical, the supporting cast has moved the story along showing their importance, and contribution to the proceedings.


Their ending striptease, culminating in “The Full Monty”, brought the house down and certainly pleased the ladies in the audience.