Bootyful Dreamers By Tom Wachunas   ecdysiast (n.) - H.L. Mencken's invented proper word for"strip-tease artist," 1940, from Greek ekdysis "a stripping or casting off"       The nerve. Theverve. The ghastly giggles and writhing wiggles. The Players Guild Theatre  production of The Full Monty is a sizzling, sassy foray into the ecdysiasticfantastic.    Jonathan Tisevichdirects this American musical adaptation (which opened on Broadway in 2000) ofthe eponymous British film from 1997. He’s more than casually familiar with thematerial, as he was in the musical’s national touring company in 2003, andlater directed a notably successful production in 2010 on the Players Guild’sairy mainstage.  This time around, theaction unfolds in the much tighter surrounds of the Guild’s downstairs arenatheater, effectively injecting a very bold and daring story with even morerip-roaring, in-your-face intensity.    Not only directinga thoroughly electrifying group of 18 performers, Tisevich is a cast memberhimself, playing a key role. Fittingly enough, it’s the character of JerryLukowski, who in turn directs a raucous show within the show. He does so withinfectious energy, infused with a physical panache and fierce emotionalitymirrored by the entire cast.     Here is the story of six steelworkers inBuffalo, New York, whose already vexed personal lives are further, uhm… upendedwhen they become  unemployed. Jerry isdesperate to find enough money for the child support payments to his ex-wife,Pam (played by Olivia Wimberly), else he’ll lose shared custody of his belovedson, Nathan (Joey Anderson). Intrigued by the popularity of a Chippendales actat the local night club, he masterminds a plan to form an unlikely malestripper troupe with his five equally desperate cohorts.     Brian O’Jackson plays Dave, a large guyfeeling helpless to revive his  troubledmarriage to Georgie (Ashley Berman). Harold, played by Jay Sigler, is a factorymanager afraid to tell his wife, Vicki (Meg Hopp) he can’t afford her lifestylebecause he’s been fired. Kyle Burnett is Malcolm, a friendless introvert livingwith his mother. Ethan, played by Allen Cruz, is irrepressibly outgoing; and‘Horse’, played by Darryl Robinson, longs for his younger days as a ladies’man. The troupe’s plan is to do one show only and share a hefty paycheck. Butvery late in their rehearsals, they realize that simply cavorting about intheir shiny red G-strings won’t fill the house. So they promise all thosewould-be ticket buyers “the full Monty” (British slang for going all the way,“the whole ball of wax”).    In coming to gripswith their dire circumstances, all of these male characters share honest angerand exasperation. It can be downright painful to hear their insecurities aboutbody image, dignity, their emotional and psychological vulnerabilities, theirill-founded pride or doubt about what makes a man…manly. Baring the body becomesa prickly metaphor for baring the soul, a difficultdrop-your–pants-drop-your-defenses proposition.     When they, as well as the women in the castsing, it’s a disarmingly expressive rawness that takes over, making all theseindividuals so utterly credible. They’re completely genuine and endearing,whether navigating through crisis or romping in unfettered silliness. Thoughsome might reckon these proceedings as some sort of sensationalistic assault onproper morality, I think the overarching thrust of the narrative is about thelove and commitment that binds and heals amidst gritty turmoil.      This salty tale isgenerously peppered with songs (music and lyrics by David Yazbek), some tenderand poignant, as in the heartrending “Breeze Off the River,” when Jerry singsto his sleeping son; and some rowdy to the point of whipping the audience intoa frenzy of piercing shrieks and whistles, as in “Big Black Man,” when DarrylRobinson, reprising his role of Horse from the 2010 production, auditions for aspot in the stripper line by delivering a whirlwind of comically  smooth moves. Teresa Houston, also reprisingher 2010 role, brings gut-splitting gusto to her rendering of Jeanette, theschmoozy, sardonic, seen-it-all show biz piano accompanist during the troupe’srehearsals.     All of the music – a crackling mix ofcontemporary pop, rock and R&B – is driven along by the excellent liveoffstage orchestra led by Steve Parsons.   And themadcap choreography by Michael Lawrence Akers is a narrative unto itself. It’sa deft sort of protracted morphing that we see, from the hilariously wonky, bump-and-grindstomping of less-than-ideal physiques into the confident, steelyard swagger ofblue collar chic. When the promised big finale does arrive, a blinding flash oflight signals that this troupe’s  collectivecup, as it were, runneth over.            The Full Monty / THROUGH SEPTEMBER 2,2018, at Players Guild Theatre, 1001Market Avenue N., Canton, Ohio / Shows at 8 p.m. Friday and Saturday, 2 p.m.Sunday (additional show on Sept. 2 at 8 p.m.) TICKETS: $32 adults, $29 seniors, at www.PlayersGuildTheatre.com   and330-453-7617.    For other commentaries by Tom Wachunas onthe performing and visual arts in the greater Canton area, please visit hisblog, ARTWACH, at www.artwach.blogspot.com