Mary Jo Catlett Photo Alyssa Brennan

In recent years, Broadway has increasingly turned to nonmusical film hits for adaptations into stage musicals. Among the most successful is this zesty 2000 reinvention of the Oscar-nominated 1997 British film of the same name. Transporting the funny and heart-rending story to Buffalo, N.Y., where unemployed steel workers turn to stripping to make ends meet, librettist Terrence McNally and songwriter David Yazbek scored a bull's-eye, earning 10 Tony nominations. Civic Light Opera of South Bay Cities' rendition surmounts a shaky start, ultimately fulfilling this show's seductive promise.

Director Dan Mojica brings out the best in a fine ensemble cast. John Bisom radiates charm and is in splendid voice as divorcé dad Jerry, working his way out of the Peter Pan syndrome. Danny Stiles as chub by bear Dave gives a portrayal full of humor and heart. Mary Jo Catlett achieves a stellar supporting turn as a jaded yet jovial piano accompanist; Catlett launches the second act in high-flying style with the uproarious "Jeanette's Showbiz Number," and provides spot-on readings of bawdy punch lines. Harrison White is a comedic force of nature as the self-described "big black man," nicknamed Horse. Catlett and White land the evening's heartiest belly laughs.

As Dave's saucy wife, Michelle Duffy shows her impressive vocal range in Yazbek's dicey comic songs and passionate ballads. Formidable Misty Cotton plays Vicki, the materialistic wife of laid-off shop foreman Harold; she's at her showstopping best in the rousing "Life With Harold." Deftly adding to the merriment are August20Stoten as the secretive Harold; Brad Standley as the slowly blossoming momma's boy, Malcolm; Dave Barrus as a brash Donald O'Connor wannabe harboring a secret weapon; and Mike Mitroni as an enterprising gay stripper.

Karen Nowicki's choreography is brisk and cleverly conceived, and Dennis Castellano's music direction does full justice to Yazbek's superb pop-rock score. Acoustic imbalances intermittently overpowered lyrics and dialogue on opening night, a problem exacerbated by the sluggish pacing that marred certain first-act scenes. Thankfully, by the time the show reached its eagerly anticipated "full monty" finale, the exuberant audience response had been earned.