The last decade has seen a flurry of stage adaptations of successful and iconic films: in the last eighteen months the Everyman Theatre alone has played host to many of them, from well-meaning versions of “The Lavender Hill Mob” and “Titanic”, to acclaimed productions of “The Bodyguard” and “The Shawshank Redemption” to name but a few. The 1997 hit film, “The Full Monty”, ranked in the top 25 homegrown films of the twentieth century by the British Film Institute, is the latest to undergo another transition from screen to stage following its premiere in 2013, with his own screenplay being cleverly adapted by Simon Beaufoy.

This feels like familiar territory, not just because the film is so well-known and so popular, but also because stories of this ilk are something of a speciality in British popular culture. Whereas “Blood Brothers” explores the impact of the loss of the shipyards in Thatcher’s 1980s Liverpool, and “Brassed Off” did the same for Lancashire’s coal mines, “The Full Monty” explores the profound impact of the loss of Sheffield’s traditional steel industry, and the subsequent unemployment, on the mental health of the men involved, and the ramifications for their families. Despite often being described as ‘feel-good’ tale, this frequently feels anything but, as themes of depression, impotence, suicide, homosexuality, body image and working-class culture are explored in a play which is simultaneously poignant and riotously funny.

This is a bittersweet story of six men who, for various reasons, have lost all hope, but who are united in the most unlikely manner as they seek to earn both money and their self-respect as male strippers for a one-off show. A strong cast, led by Danny Hatchard as Gaz, delivers a thoroughly engaging performance of a story which is well-suited to a play format where the characters’ troubled lives are first explored, and then redeemed. Neil Hurst’s self-deprecating Dave is the perfect foil to Gaz’s domestic turbulence, but in truth, all the male characters play well, not least ten year-old Rowan Poulton who tonight delivered a wonderful star turn as Gaz’s son Nathan, in rotation with three other talented young actors. Jake Quickenden gets the pulses racing, and a largely female audience cheering, as Guy, with the play walking a fine line between serious, thought-provoking drama on one hand and providing some titillation for a hen-night crowd on the other. However, tonight’s audience was a respectful and very appreciative one, as an instant standing ovation at the end deservedly proved.

Technically, this is a clever and ambitious show too. Three scaffolded towers on wheels provide a versatile and imaginative set, with multiple configurations being smoothly, almost balletically, choreographed by all the cast and crew to suggest a wide range of locations. A soundtrack of 80s and 90s classics accompany the scene transitions, although these are sometimes cut rather too abruptly, just as this particular audience member was starting to enjoy the tunes.

Director Michael Gyngell, and all the creative team, have combined to produce a hugely enjoyable show for adults of all ages. For all its pathos and poignancy at times, its gritty social commentary, you cannot fail to enjoy this rousing spectacle. Having opened this week, the show runs in Cheltenham until Saturday, before heading off on an extensive national tour.

So book yourself a ticket if you like a heartwarming tale which builds to a wonderful, stirring climax; “The Full Monty” certainly pulls it off…..