"THE FULL MONTY" Although it seems to be a recent development, the genre of films being adapted into stage musicals is nothing new. Yes, there has a been flood of them in recent years, but look back to the '60s and '70s, and you'll find titles such as "Promises, Promises" (adapted from The Apartment), "Applause" (All About Eve) and "A Little Night Music" (Smiles of a Summer Night). Current hits like "The Producers" and "Spamalot" join the list alongside earlier flops like "Smile" and "Carrie."

In 2000, the surprise British hit film about a group of unemployed steelworkers in Sheffield, England who hatch an unusual plan to make a quick buck got a musical makeover, resetting the story in Buffalo, New York and logging a respectable nearly two-year run on Broadway. Although nominated for 10 Tony Awards, the production lost in all categories to the season's other big screen-to-stage musical, "The Producers." A national tour in 2001 was cut short after its Chicago run to make it a less-costly venture, and the show hasn't been seen here since.

While at first it may seem surprising that the show hasn't turned up in a local production before now, think about it: With its famed "full monty" (translation: butt naked) finale cleverly concealed by the glare of bright lights from behind the actors, how would that be done at Marriott? And are the audiences more used to musical fare such as "The Music Man" and "My Fair Lady" ready for some male anatomy being flaunted in Oak Brook? But put the lads onstage in a swanky new downtown Chicago theatre, and you end up with a double success: A sizzling production that looks and sounds sensational, and a much needed new outlet for musicals since the deaths of Candlelight and Drury Lane in Evergreen Park. The strikingly beautiful new Drury Lane Theatre at Water Tower Place delivers both.

Faced with mounting unpaid child support and the threat of his visitation with his son being halted by his ex-wife (Barbara Helms), out-of-work Jerry Lukowski (Peter James Zielinski) hatches a plan with fellow unemployed best friend Dave Bukatinsky (Michael Linder) to raise some cash to help make their respective money troubles less so. When they see the local women flocking to a one-night performance by a traveling male strip show and forking over $50 a head to do so, the guys think that they can give the ladies what they want just as easily and collect a cool $50,000 for a little bump and grind. After recruiting some other cash-strapped guys willing to wiggle along with them, they find that their plan isn't as easy a one as it first seemed. They can't dance, they're not exactly what one would call babe bait, and they find that the local women are more interested in going to a local basketball game than seeing these amateurs in action. So in desperation, Jerry ups the ante by promising that the men will be giving even more of themselves, namely doing a "full monty."

Director-choreographer Jim Corti stages a robust and highly charged production for this debut of the new Drury Lane. Working within Brian Sidney Bembridge's modular and easily adapted set pieces and under the wildly colorful and dramatic lighting design by Shelley Strasser Holland, Corti guides his well-cast ensemble through an intricately patterned staging and coaxes vivid performances from one and all. Especially appealing are Zielinski's confused but determined Jerry; Linder's lovably insecure Dave and the warm yet earthy turn by Kelly Kenkel as his devoted but neglected wife, Georgie; the vivacious upper-class seductress crafted by Lucia Spina; Jason Bayle's nebbish and inescapably charming security guard-mama's boy; and Renee Matthews' showstopping deadpan and acid-tongue shtick as the seen-it-all rehearsal pianist.

Corti and his fellow artists have set a standard for excellence and given Drury Lane at Water Tower Place a spectacular sendoff. (****)

("The Full Monty" runs through July 10 at Drury Lane Theatre Water Tower Place, 175 E. Chestnut. 312-642-2000.)