Handling a Hard Body

(L-R) Dale Soules, Kathleen Elizabeth 

Monteleone and Jon Rua. Photo by Kevin Berne.

"I'm a redneck, not a hick."

Janis Curtis

Hands on a Hard Body

What do you say when a Pulitzer Prize winning playwright of your Tony decorated show asks for a commission for a new musical? This is the case with Doug Wright ("I Am my Own Wife") and the La Jolla Playhouse's "Hands on a Hardbody" (based on the documentary of the same title).

The body of the titillating title is a 2,8000 pound Nissan Hardbody truck, the object of inescapable desire for ten Longview, Texas contestants. Such publicity students date back to the 1920s flag-pole sitting. In this endurance competition the last person standing with hands on the truck drives away with pure-bred Texas-Amecian identity.

Mr. Wright's libretto maps out a lightly engaging trip through the static competition. The story's outcome doesn't hold much mystery. Amanda Green (lyrics and music) and Trey Anastazio's (music) score takes an excursion through Country Western ballads, Country Western waltz, Country Western honky tonk, Country Western R&B, Country Western tear jerk, Country Western swing, Country Western anthem and the inevitable gospel number (twice).

It seems we can't go to a new musical that hasn't appropriated African American music forms to assure a punched-up act ("Rent's" act two opening). Christopher Ashley's recent Broadway "Leap of Faith" is a recent example. The first sure-fire occurrence in "Hardbody" is Jacob Ming Trent's (Ronald) American Idol over sell in Act 1. 

A more profitable example is the ecstatic Bible thumping Keala Settle (Norma) who puts the pedal to the metal with Joy of the Lord that stops the show. Emerging as a private chuckle, Ms. Settle winds her way to petite snicker, laugh, guffaw and belly laugh enriched with convulsive giggles and silence in a magnetic performance that inspires the company to primal drum beats. With truck as percussive instrument we are beat into believing. By show's end Norma's crisis of faith poignantly brings us into her fold. 

Hunter Foster (Benny) plays the devious returning winner with cock-sure vocal power. Bigoted Benny unexpectedly befriends a fellow middle-aged man, J.D. Keith Carradine. J.D. is a disillusioned married man whose remaining flaccid passion driving off to a fishing weekend with the boys. Mr. Carradine turns in a tempered subtle performance. He blends into the ensemble and rises appropriately when called. His singing has a pleasant oboe-like quality that proves moving in his attempt rekindle a semblance of worth in his heart.

The truck as character, set piece, metaphor, symbol, weapon, fetish and the dubious prize turns out to be handled with dexterity and aplomb in choreographer Benjamin Millepied's (Black Swan) musical staging.

Director Neil Pepe periodically surprises with silent moments he's beautifully solicited from his actors. The nonverbal impact of the psychosis that overcomes the few remaining contestants jolts us into the emotional story as strongly as does the score.

The Broadway tourist industry has a target market for "Hardbody." The "suits" have been south to see it and picked it up for a 2012-2013 opening. With Broadway Across America as a lead producer, the show has wheels.

Hands on a Hardbody

Book by Doug Wright

Lyrics by Amanda Green

Music by Trey Anastasio and Amanda Green

Through June 17, 2012

Mandell Weiss Theatre, La Jolla Playhouse

http://lajollaplayhouse.org/