“Jasmine Swan’s jigsaw-like set structure immediately places us at the heart of these characters’ world: amidst the dilapidated, abandoned steelworks, having a cheeky ciggie by the bins at the back of the working men’s club or in the shadow of despised Maggie’s portrait hanging in the Conservative Club. And while on stage it might appear to be ‘grim up North’, there are no stereotypes here. Our compelling emotion is admiration over pity.”
“Jasmine Swan’s set design admirably reflects the now-defunct steelyards that were once the backbone of Sheffield. Three steel structures dominate the stage, which ingeniously twist, turn and reconfigure into the job centre, the Conservative club and the decommissioned factory that now stands in as a rehearsal space for Gaz and his troupe of desperate wannabe male strippers. Swan’s costumes, too, capture the late 1990s succinctly.”
“From queue dancing at the job centre to cringey auditions and even the cling film moment, fans of the film will be pleased at references to the movie. The vast skyline looming in the background is the ideal reminder that this is proudly set in Sheffield.
The set itself is a feat of its own. A modular, industrial looking jigsaw that fits together in multiple configurations, bring fresh life into each scene.”
The Full Monty (Everyman Cheltenham and UK Tour)
Michael Gyngell (Director), with Ian West (Choreographer/Intimacy Director), Jasmine Swan (Set & Costume Design), Andrew Exeter (Lighting), and Chris Whybrow (Sound)
Photographer: Steve Gregson and Ellie Kurtz