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Have You Played Ethan in The Full Monty?

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#1

Have You Played Ethan in The Full Monty?

I'm just starting rehearsals for The Full Monty here in Key West and I wonder if any former Ethans have any advice on how you did the "fail" versions of the Donald O'Connor Singing in the Rain Wall Flip. Haven't even started blocking yet, but I want to come into rehearsal with some ideas.
Thx,
Eric
#2

Have You Played Ethan in The Full Monty?

You're playing Ethan??? How do they audition for that role, specifically? Just curious. Did you have to prove that you live up to Ethan's, shall we say... dimensions?
#3

Have You Played Ethan in The Full Monty?

The time I saw it Ethan ran offstage followed by a CRASH and onstage reactions. What's in the script?
Faced with these Loreleis, what man can moralize!
#4

Have You Played Ethan in The Full Monty?

CATSNY---Just a regular audition. Barring any lighting cue malfunction, I shouldn't have to worry about whether I live up to Ethan's "glimmer" or not...

mallardo--at least the first time he demonstrates it, it should be onstage, and then he keeps attempting it throughout Jeanette's Showbiz Number, and then the director would like him to do it successfully during Michael Jordan's Ball, but he's considering just having the cast flip me, but of course I want to do it for real off of the proscenium. Just want to be able to do it safely.
#5

Have You Played Ethan in The Full Monty?

Check out the YT video of Joseph Gordon-Levitt on SNL a few weeks ago. He sings Be A Clown and does the flip-off-the-wall trick perfectly.
Faced with these Loreleis, what man can moralize!
#6

Have You Played Ethan in The Full Monty?

Run towards your designated wall according to the blocking. And just jump onto it as if the wall was going to catch you. The rest of the time you will probably just run offstage.

Really, I wouldn't worry about it. You won't have to do the trick at all. And the funnier you make the fall, the better. (If that is what the director wants.)
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle

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