THE band of amateur strippers at the heart of The Full Monty pull it off, one hundred per cent, and that's a pretty good metaphor for the show as a whole.

We should start, however, with a review, not of the stage action, but of the audience.

OMG. The packed Palace theatre rooted for this Little Theatre Company production in a way that makes an FA crowd sound like a group of nature lovers trying not to disturb a rare bird. I have seldom seen or heard the like of it across a lifetime in the Palace stalls.

But then, this production deserved every one of those cheers and every thump of a stamping foot. The Full Monty is a fine, well-structured piece of musical theatre, but it is also massively challenging. In less accomplished hands, it can easily lurch into a mixture of schmaltz and smut, not a pretty combination. Previous productions haven't always cut the mustard.

Here, however, the skills of director Bradley Green (especially in handling actors and controlling pace) make all the difference. Add to this a whole array of stand-out performances, flawless ensemble work, plus exceptionally creative use of dance in developing character and story, by choreographer Gemma Carracher, and you have – well, how do you express a roar of approval in words? Wowaaaagh – will that do?

The musical version of Full Monty is still less well-known in this country than the original 1997 film. but lovers of that particular cinematic gem need not feel too protective. The addition of songs actually enhances the story of a group of unemployed steelworkers who find a new purpose in life by forming a male stripper group. The transfer of the setting across the pond from Sheffield to Buffalo, NY, also works very comfortably, and serves to emphasise the story's universality.

Here's great material then, and, man, do the LTC cast and crew pick it up and run with it. There are too many strong performances to list them all, but the principals – Chris Lidgard as the Micawberish Jerry, founder of the group, and Julian Cottee, as the overweight Dave, whose stomach is virtually a separate star performer in its own right – cry out to be mentioned.

Scott Michael Bourne is a magnificent presence as Horse, the sole black member of the team, and there are further beautifully crafted performances from Sebastian Poskitt-Richardson as mother's boy Nathan, and LTC long-term golden girl Sally Lightfoot as the group's hardbitten rehearsal pianist. Lianne Larthe, who doesn't know how not to shine, is very funny as the materialistic Vicki.

As well as individual performances, I was struck by the strength of the crowd work. Particularly clever is the way the women morph from individuals, with their own personalities and insecurities, into a frenzied, lust-crazed mob, once the boys start stripping. The effect is hilarious, and a tribute to the skill of the choreography, which extends well beyond the dance numbers. It is also a reminder, once again, that female lung-power is a wonder of the world.

The overall result of all this brilliance is a quality that is surprisingly rare in theatre – warmth. It is a commodity that cannot just be turned on by a switch, but the dedicated work of all involved in this production distills sunshine that an audience can bask in.

A lady near the front of the stalls had brought a fan along with her, and was steadily wafting herself with it. A wise move, but not because of the weather.

The Full Monty

Palace Theatre, Westcliff

Nightly at 7.30pm until Sat May 19, mats Thus & Sat 2.30pm

Box office: 01702 351135 southendtheatres.org.uk