Known for her dynamic and thoughtful approach to storytelling and musical theatre, award-winning director and choreographer Julie Tomaino is bringing her unique vision to the Capitol Theatre in Port Hope in the latest production of The Full Monty: The Broadway Musical.
And perhaps surprisingly, her connection to this particular musical runs deep: “The movie was produced in 1997. The Broadway show followed in 2000. I was in college in New York City at the time, learning how to be an adult, and I very much identified with the language used to explore tough subjects. It’s not language we use any more because we know better. But I got what the show is trying to say. These men – struggling with gender roles that society has placed on them – are fighting against being vulnerable, because that is the ultimate failure. Men coming to terms with, and embracing, their vulnerability is interesting to me.”
The Full Monty, adapted from the movie with book by Terrance McNally and music and lyrics by David Yazbeck, tells the story of six unemployed steelworkers in Buffalo, New York. While spying on their wives at a “Girls’ Night Out,” they decide to form a male striptease act to earn money and regain their self-respect. Along the way, they find themselves feeling, well . . . exposed – both physically and emotionally. And they must confront issues of body image, gender stereotypes, and societal expectations. As they work to conquer their fear, self-consciousness and prejudices, they find strength in vulnerability and camaraderie. The cast features Gaelen Beatty, Darren Burkett, Autumn Joy Dames, August Fox, Donna Garner, Gavin Hope, Julia Juhas, Jacob MacInnis, Jamie McRoberts, Ian Simpson, Tahirih Vejdani, Alex Wierzbicki, and Daniel Williston.
Some 24 years after the Broadway show’s debut, Tomaino’s challenge has been making the show accessible for a 2024 audience – without excluding or alienating any particular group: “How do we tell the story of how gender stereotypes and toxic masculinity affect everyone? And how do we make it cool enough to fit into the vibe of this show?”
Happily, Tomaino can draw on her previous experience directing The Full Monty at Neptune Theatre – though this Capitol-Theatre production has a distinct identity. “We leaned heavily into the gender binary for this production, in almost a satirical wink. It’s completely different than the Neptune production. There, we told the story through the lens of the 12-year-old boy on the brink of manhood, setting it on a playground and having him observe and participate in most scenes where he wasn’t written in.”
Within the show’s new focus, it’s essential to serve both the comedic and serious elements of the story: “We had a lot of conversations about the dark humour in the show, and how there is a delicate balance in the approach to that. We didn’t want to ‘send up’ a moment just for laughs – the humour comes because it’s so grounded in genuine honesty and truth.” Happily, she smiles, “ I trust my gut. I’ve cultivated good musical theatre instincts over the course of the last 25 years. I trained with someone who took me under their wing for 10 years as an assistant and then associate director/choreographer. He taught me how to sit quietly and listen to my intuition.”
Along with intuition, collaboration with her creative team is a second cornerstone of Tomaino’s process: “I lean a lot on my collaborators – set, costume, and lighting – to influence the overall production. For example, in my first conversation with Scott Penner, who designed the set, I spoke about the same message and themes that I connect with and love about the show.” She did not provide him with a specific picture of exactly what she wanted; instead, she explained how she loved poetic sets that eschew the literal. After that conversation, he conceived the innovative set design – “and then we were flying with inspiration”. It was the same with costumes, she notes. “I gave Joyce Padua a few simple ideas, and she flew.”
Of course, costuming plays a crucial role in a production about stripping: one which requires practicality, as well as creativity. “Joyce and I and Sound Designer Emily Porter have been having conversations for the better part of a year!! There are logistical concerns that I learned from the last production, and then we also have different bodies in this cast, so we had to build costumes and looks for all these actors. Basically, everything is tear-away! Fun to take off, “ she laughs, “but sometimes not as fun to button back up!”
Among many vibrant scenes in the musical, the ballroom scene is a particular favourite of Tomaino’s because “it required my full brain”. There are three background ballroom choreography sections that at different points are featured for a few seconds, then fade back into nothingness while the scene is unfolding. One of her favourite songs, ‘Love That Man,’ is sung in this section of the show, which is when the action of the story really takes off. For her, “it’s the most satisfying section to watch because of the math of it all: focusing a moment and getting the audience to pay attention to what they need to see. I know just how long and hard it was to build the final product that the audience is watching. I also love the final number. It’s exhilarating, the full cast is in on it, and it’s a very different end to a show.”
Whether you’re new to the show or are already familiar with The Full Monty: The Broadway Musical or its movie predecessor, there’s a lot to look forward to in the Capitol Theatre production. Tomaino’s insightful and innovative approach promises to be memorable and meaningful, blending humour with heartfelt messages and a fresh perspective fit for 2024. The production runs until July 28, 2024 at the Cameco Capitol Arts Centre. Visit capitoltheatre.com to read the content advisory and to reserve tickets.
© Arpita Ghosal, SesayArts Magazine, 2024
