IN very simple terms, a show like The Full Monty cannot fail - especially with a Friday night audience where the men stand out like sore thumbs.

Add to that the storyline from a much-loved Brit flick, a wonderful script deftly combining deeply touching and laugh-out-loud moments, and a daring hint at full frontal nudity and you really are on to a winner.

Pendle Hippodrome Theatre Company tackled this production, directed by Howard G Raw, with real heart.

And at a time when theatres - professional and amateur - are fighting for audiences, it’s great to see a full house drawn in for some stage magic.

Leading the band of brothers - united by unemployment and the anxieties it brings - was Gary Leonard as Jerry, the Robert Carlyle role in the film.

It took me a while to warm to him, and the rocky tones of Man were not best suited to his vocal abilities. But, by the time he sang a heartfelt rendition of the gentle, country-like lullaby Breeze Of The River to his son (a well-cast and strong performance all round by Jack Parry) I had been won round, and was well convinced of his portrayal of a dad desperate to secure his son’s affections.

Perhaps the most impressive performances were those of Rob Hartley as Ethan and Josh Hindle as Malcolm. The two youngest members of Hot Metal, they showed real maturity in conveying some hard emotions - while providing some well-appreciated eye candy (given the audience’s whooping) and showcasing some brilliant comedy timing. Well-rounded characterisations, with great vocals from these young men. Their duet was especially touching.

Steve Royle and Mike Wignall each played their marital difficulties out to the full. I felt for them, and Mike’s added insecurities as the tubby house-husband Dave were well handled.

Antoni Savage went for it as Horse, ans his song Big Black Man was quite clearly played for laughs with a high energy routine - but much of the humour was lost through too low a level on his microphone. This wasn’t the only occasion when the sound balance between music/underscoring and performers’ mics was out, and it was a real shame considering the work levels on stage.

For the women, there were solid performances from Elizabeth Rowell and Kathy Anderson as the wives, and Angela Boult played the torn loyalties of ex, fiancee and mum well.

But it was Jill Harrison as Jeanette who - very nearly - stole the show from the men. The tough, eccentric, chain-smoking pianist was a cracking role, played out to the max.

Cameo roles were well handled - especially Simon Jackson as Buddy and Sam Crabtree as MC and priest, and a ‘here come the girls’ style The Goods was the stand out company number in a show which focuses on its leads.

The production moved along with pace, with some neat and snappy direction, and crucially-clever lighting. I did feel the audience's intelligence was somewhat insulted by the large screens pointing out where the action was taking place, and the screen changes actually distracted me from the action on stage on several occasions.

Another sterling production from the Hippodrome team, and there's no doubt the audience went home happy.