WHO would ever have thought a film that dealt with issues such as job losses, recession, poverty and attempted suicide would become one of the most well-loved, ‘feel good’ hits of all time?

In 1997 The Full Monty achieved just that and now, 17 years later, the film that changed the way we look at dull job centre queues forever has been adapted as a stage play.

Roaring in to Liverpool this latest touring production, headed up by former Footballers’ Wives and Hollyoaks star Gary Lucy, took to stage of the Empire Theatre to bring back to life the down-at-heel former steelworkers who chance upon a cheeky way to make some much-needed cash.

Adapted by Full Monty writer Simon Beaufoy we meet loveable rogue Gaz (Lucy), overweight Dave (Martin Miller), uptight Gerald (Andrew Dunn), arthritic yet spritely Horse (Liverpool’s own Louis Emerick), lonely Lomper (Bobby Schofield) and Guy (Rupert Hill).

The actors bring an easy, natural rapport and gleefully embrace every second of their characters’ journey from steel workers to sex gods as part of their motley strip troupe ‘Buns of Steel’.

Despite an occasionally faltering accent, Lucy brings swagger and charm to the stage and is supported by an excellent cast who handle their parts with gusto and warmth.

Star performances from Bobby Schofield, Martin Miller and Andrew Dunn add sparkle and, although the first 40 minutes are a little slow-to-get going, the arrival of characters Horse (Louis Emerick) and Guy (an excellent Rupert Hill) set the pace in full swing.

The story has lost none of its heart and warmth in translation from screen to stage and the ease with which the themes, ensemble work, dialogue and spectacular finale play out make it hard to believe The Full Monty was not originally conceived as a stage play.

A longer script sees the issues of poverty, unemployment, depression and even body  image explored in more depth, as well as the challenges faced by a post-industrial northern town in the fading light of Thatcher’s rule.

Designer Robert Jones’s set is effectively conceived to remind us that industry, albeit the broken shell of it, remains at the heart of this affecting, heart-warming tale.

Pitch-black, bawdy humour sees these men deal with their despair through humour, camaraderie and hope and their friendship is beautifully borne out as their ballsy adventure unfolds.

Sadly the show was marred by sound issues from the outset as the on-stage microphones failed to pick up chunks of dialogue, instead over-amplifying footsteps and set shuffling.

But the energy in the Empire was electric from the outset and the audience seethed in anticipation of the spectacular, big-reveal finale.

By the time the show-stopping striptease came the roar from the upstanding crowd was deafening; even I was hoarse from hollering by the time the curtain came down.

A warm, uplifting, tantalising teaser of a show, catch it this week at the Liverpool Empire.

Four stars out of five ****

For tickets visit www.atgtickets.com/shows/the-full-monty-the-play-by-simon-beaufoy/liverpool-empire