Susan Granger’s review of “Hands on a Hardbody” (Brooks Atkinson Theater 2013 season)
A grueling promotional endurance contest at an automobile dealership seems like an unconventional concept for a Broadway musical – but, surprisingly enough, it works!
Ten poverty-stricken Texans are ready to stand under the scorching sun and lonely night chill – keeping at least one hand on a new, red Nissan truck – in order to win it and drive away with the American Dream. With periodic food and bathroom breaks, but no leaning and no kneeling – the contest lasts more than three days. That gives plenty of time for each likeable competitor to step forth and tell his or her story, revealing their pressing problems and fervent dreams. Much like “A Chorus Line,” they’re united by their desperate determination to persevere and win the coveted prize.
The dealership’s adulterous general manager (Jim Newman) offers to help a sexy, blonde (Kathleen Elizabeth Monteleone) win in exchange for sexual favors, much to the dismay of his perpetually perky co-worker/contest director (Connie Ray).
Among the six men and four women, Hunter Foster is outstanding as a cocky previous winner, as is Keala Settle as a Bible-thumping, gospel-warbling housewife and Keith Carradine as an aging construction worker recovering from a crippling leg injury. Two young people (Allison Case and Jay Armstrong Johnson) discover romance, plus there’s a Marine (David Larsen) suffering from post-traumatic stress disorder, a genial Black man (Jacob Ming-Trent) and an ambitious Mexican-American (Jon Rua) who wants to become a veterinarian.
Based on a 1997 documentary about a similar group of poor people in Longview, Texas, competing to win a Nissan Frontier truck, the book is by Pulitzer Prize-winner Doug Wright (“I Am My Own Wife”), lyrics by Amanda Green (“Bring It On: The Musical”) and music by Fort Worth-born/New Jersey-raised Trey Anastasio, best known as the front man for the group Phish, and Amanda Green Adroitly directed by Neil Pepe (“Speed-The-Plow”), the musical staging is credited to Sergio Trujillo (“Memphis,” “Jersey Boys”).
A spirited mood of frivolity is prevalent, unlike the far darker 1969 film “They Shoot Horses, Don’t They?” about Depression-era dance marathons, as everyone seems to be rewarded with redemption.