[LJ2ME] Monty's Pythons
Let's not pretend that the name is just a teaser of a pun. This production of The Full Monty promised to deliver on the title, and this materialised in a performance at the end of the show where the cast had the balls to, well, show them. No dimming of lights, no distracting strobe effects, no fog machines in overdrive, just six naked men on stage. Did I mention naked?
I had a front row seat right smack centre and lest you think otherwise, I bought my ticket before they announced they would indeed do the full monty. The ang moh couple next to me had a animated exchange where the husband questioned the wife's motives for having gotten their seats and while she demurred and blamed the ticketing system, he hoped he wasn't to be getting an eyeful in the face.
Of course, to catch the musical for the nudity would be missing the forest for the trees. True, the title and story revolve around the amateur male revue strip act the protagonists put together in an attempt to do something more (? meaningful) with their mundane existence, but the lessons taken away by the audience are of love and friendship and commitment and sacrifice.
This inaugural production and performance of Adrian Pang's new-founded Pangdemonium Productions has a lot going for it. The thespian credibility of Pang coupled with the directorial chops of partner-in-crime (and life) Tracie Pang more than offer up a tantalising prospect of something good brewing on the stove.
The show started with a cock-teaser in the delectable George Chan as a professional member of The Chippendales who sends the predominantly female crowd into hysterics as he strips down to a skimpy pair of underwear in his act.
Thus inspired, the motley crew of characters laid off their jobs decide to cash in on the phenomenon by going one-up on the troupe by performing their own show with the added bonus of going all the way. Bankrolling the production and performance in the lead role of Jerry is Adrian Pang who plays the underdog trying to prove his worth to his ex-wife and son. A reasonable set of pipes and his undoubted acting skills has him engaging the audience throughout.
Andy Hockley is the fat bastard, Dave, who joins his best friend in this hair-brained idea but has issues with his image and self. Hossan Leong is the Mummy's boy, Malcolm with stereotypical hang-ups and stock jokes. Daniel Jenkins keeps up appearances as Harold and Ebi Shankara as Horse impresses with his fine moves. Lim Yu Beng completes the wannabes as a little scatterbrained but sensitive Ethan.
Local big voices Celine Rosa Tan and Denise Tan play two long-suffering wives unaware of their husbands' secret. An impressive Sheila Francisco last seen in Forbidden City belted out her part with finesse, stealing the limelight deservingly.
As Jerry's son, Nathan, Pang's own sons Zachary and Xander share the role, no doubt inviting remarks from the public for the use of vulgarity in the presence of the children and worse by them in their lines. No complaints of nepotism here for who else could convey the close father-son ties and relationship better?
And like an expat I know who joked about the default token "gay scene" in every Singaporean production, there was one that blossomed between two of the characters, finding common interests from "at the beginning, a very good place to start".
The set was a delight, with sliding sections opening out to reveal unexpected surprises. In the backdrop, a wash of silhouetted electricity pylons, electrical cables, industrial machinery and buildings were lent an added edge with palettes of colour.
The songs weren't particularly memorable save for a delightful and humourous Big-Ass Rock on how a friend in need is a friend indeed. A musical it may be, but the balance was a little off with more talk carrying the story forward.
And of the heavily backlit nudity amidst a burst of pyrotechnics, "dangling" is the word that first comes to mind. Well, surely we couldn't have expected them to really bare all and strut around like in Quills?
Yes, size does matter after all. The size of your ambition to start out all over again. The size of your ego to name your company after yourself. The size of your courage to forgo a stable monthly income. The size of the audience over the run. And for the six men on stage, the size on their manhood proves to be less of an issue than that of solidarity through hard times.
This is stripped-down theatre with a feel-good ending that has you leaving with a smile on your face and a spring in your step.
I had a front row seat right smack centre and lest you think otherwise, I bought my ticket before they announced they would indeed do the full monty. The ang moh couple next to me had a animated exchange where the husband questioned the wife's motives for having gotten their seats and while she demurred and blamed the ticketing system, he hoped he wasn't to be getting an eyeful in the face.
Of course, to catch the musical for the nudity would be missing the forest for the trees. True, the title and story revolve around the amateur male revue strip act the protagonists put together in an attempt to do something more (? meaningful) with their mundane existence, but the lessons taken away by the audience are of love and friendship and commitment and sacrifice.
This inaugural production and performance of Adrian Pang's new-founded Pangdemonium Productions has a lot going for it. The thespian credibility of Pang coupled with the directorial chops of partner-in-crime (and life) Tracie Pang more than offer up a tantalising prospect of something good brewing on the stove.
The show started with a cock-teaser in the delectable George Chan as a professional member of The Chippendales who sends the predominantly female crowd into hysterics as he strips down to a skimpy pair of underwear in his act.
Thus inspired, the motley crew of characters laid off their jobs decide to cash in on the phenomenon by going one-up on the troupe by performing their own show with the added bonus of going all the way. Bankrolling the production and performance in the lead role of Jerry is Adrian Pang who plays the underdog trying to prove his worth to his ex-wife and son. A reasonable set of pipes and his undoubted acting skills has him engaging the audience throughout.
Andy Hockley is the fat bastard, Dave, who joins his best friend in this hair-brained idea but has issues with his image and self. Hossan Leong is the Mummy's boy, Malcolm with stereotypical hang-ups and stock jokes. Daniel Jenkins keeps up appearances as Harold and Ebi Shankara as Horse impresses with his fine moves. Lim Yu Beng completes the wannabes as a little scatterbrained but sensitive Ethan.
Local big voices Celine Rosa Tan and Denise Tan play two long-suffering wives unaware of their husbands' secret. An impressive Sheila Francisco last seen in Forbidden City belted out her part with finesse, stealing the limelight deservingly.
As Jerry's son, Nathan, Pang's own sons Zachary and Xander share the role, no doubt inviting remarks from the public for the use of vulgarity in the presence of the children and worse by them in their lines. No complaints of nepotism here for who else could convey the close father-son ties and relationship better?
And like an expat I know who joked about the default token "gay scene" in every Singaporean production, there was one that blossomed between two of the characters, finding common interests from "at the beginning, a very good place to start".
The set was a delight, with sliding sections opening out to reveal unexpected surprises. In the backdrop, a wash of silhouetted electricity pylons, electrical cables, industrial machinery and buildings were lent an added edge with palettes of colour.
The songs weren't particularly memorable save for a delightful and humourous Big-Ass Rock on how a friend in need is a friend indeed. A musical it may be, but the balance was a little off with more talk carrying the story forward.
And of the heavily backlit nudity amidst a burst of pyrotechnics, "dangling" is the word that first comes to mind. Well, surely we couldn't have expected them to really bare all and strut around like in Quills?
Yes, size does matter after all. The size of your ambition to start out all over again. The size of your ego to name your company after yourself. The size of your courage to forgo a stable monthly income. The size of the audience over the run. And for the six men on stage, the size on their manhood proves to be less of an issue than that of solidarity through hard times.
This is stripped-down theatre with a feel-good ending that has you leaving with a smile on your face and a spring in your step.