Dan Belnavis, Danny Romeo, Joe Carroll, Colin Hartman, Sam Lips, and Ted Stevenson star in U-M's "The Full Monty."

Photo by Peter Smith Photography

In the stage adaptation of “The Full Monty,” when six out-of-work Buffalo men are about to perform their much-anticipated striptease in front of everyone in town, their accompanist, Jeanette, introduces them by saying, “They’re not young, they’re not pretty, and they’re not very good.”

But none of these things are quite true, of course, when the men in question are students in the University of Michigan musical theater department, which is now presenting “Monty.”

For the characters are supposed to be out-of-shape, uncoordinated guys pushing middle age—which these student actors aren’t, of course; but you quickly give yourself over to the illusion on the basis of the performers’ sheer spirit, talent, and skill.

Based on the Oscar-nominated 1997 British hit film of the same name, the stage version of “Monty”—with a book by Terrence McNally and a score by David Yazbeck—re-sets the action in the America. Jerry (Joe Carroll), an unemployed, divorced mill worker, is struggling to make child support payments for his son, Nathan (Milo Tucker-Meyer), when he hatches a plan with his also-unemployed best friend Dave (Danny Romeo) to make some money: He and some other local “real men” would present their own strip show. When ticket sales falter, Jerry decides to up the ante by promising that the men will strip down to nothing. (The show, if it isn’t obvious already, is for mature audiences.)

The nearly three hour musical, like the movie, is ultimately uplifting, with plenty of heart, despite a score that is merely serviceable. Even so, U-M’s cast members, under the sure-handed guidance of director Mark Madama, perform a kind of alchemy with the songs.

On opening night, one of the show-stopping highlights was Alex Finke’s hysterical, masterful delivery of “Life with Harold”; Daniel Balnavis’ take on “Big Black Man,” meanwhile, was soulful, infectious fun; and Sam Lips and Colin Hartman sounded gorgeous together, and provided the show’s most moving moment, during “You Walk with Me.”

More generally, Carroll’s conviction was powerful, as was his voice (despite some minor struggles with the toughest passages of “Man” on opening night); and after shaking off some initial stiffness, Romeo nicely conveyed the soul of a shlubby guy struggling to find a reason to feel good about himself. Finally, in a supporting role, audience favorite Brene’ Jackson earned big laughs with her dry delivery as the salty, no-nonsense Jeanette.

Playing just as important a role in the production is the choreography, winningly designed by Mark Esposito. “Michael Jordan’s Ball” is an energizing choreography showcase, as the characters try to employ athletic maneuvers as a means of approaching dance; and the finale, “Let it Go,” builds nicely to, and coyly flirts with, the show’s big “will they or won’t they” moment.

Music director Cynthia Kortman Westphal oversees the show’s strong orchestra (always appreciated); scenic designer Bruce Bockman provides evocative sets that can be quickly changed; Jessica Hahn thoughtfully designed the costumes for the residents of this blue collar town; and Jim Lillie designed the show’s sound.

But it’s lighting director Rob Murphy that plays a key role in the show’s final moment—which just may be one of the most critical lighting cues in theater.

Don’t expect me to go full monty in revealing it here, though. You’ll just have to see it for yourself.

Jenn McKee is the entertainment digital journalist for AnnArbor.com. Reach her at jennmckee@annarbor.com or 734-623-2546, and follow her on Twitter @jennmckee.