The first locally produced production of the David Yazbek-Terrence McNally musical The Full Monty demonstrates what a nicely constructed show it is. Set in Buffalo in the recent past, The Full Monty follows a group of out-of-work steelworkers who decide to put on a Chippendales-style strip show to earn some quick cash.

At Artpark, under the direction of Lynne Kurdziel-Formato, who also supplies the choreography, the show benefits from its local resonance in a region that has seen better economic times. The second scene, featuring a group of men grousing at their union representative, played with palpably greater reality than either the Broadway production or the national tour.

Lynne Kurdziel-Formato has directed with great insight and clarity, and enlivens the show with her trademark choreography, which keeps the evening moving briskly. The mostly local cast is also quite excellent, with particularly fine performances in some particularly nice roles for Loraine O’Donnell as lovelorn working-class wife Georgie Bukatinsky; Lisa Ann Ludwig as the boss’s materialistic spouse, Vicki Nichols; and Ann Mosner as show-biz workhorse Jeanette Burmeister. Lou Colaiacovo and Bobby Cooke distinguish themselves as the offbeat local boys who find love after several hilarious diversions in other directions. Tom Owen provides mirthful insight to the stuffed-shirt boss who loosens up as poverty teaches him what is truly important. Michele Roberts and Doug Weyand lend a serious, but ultimately lighthearted weight to the central character’s plight.

As the leading character, visiting artist Rob Richardson is tremendously appealing and convincingly holds his own among a crew of Buffalo’s most experienced musical theater performers. He gives the role of Jerry, a guy who’s got to earn some cash or lose custody of his son, great humanity and lovability, despite his apparent failings. Jay Dref gives a fine performance as Nathan Lukowski, a young man wise beyond his years.

Tyrone Grant is wonderful as Noah “Horse” T. Simmons, a role created around the talents of André De Shields. His rendition of “Big Black Man” is an evening highlight. Todd Horman is marvelously endearing as insecure but well-intentioned Dave Bukatinsky.

The show plays very well, and even in the large Artpark auditorium inspired obvious enthusiasm and compassion in its audience.