It’s not what you think it is.
Indeed, “Hands on a Hardbody,” a musical running through May 21 at the Henegar Center in Melbourne, takes a look at an America feverishly hanging onto dreams.
The book, written by Doug Wright, found its inspiration in a 1997 documentary filmed in Longview, Texas, where contestants compete to win a “hardbody” truck. The last person keeping a hand on the truck wins.
Throughout, the story reveals the hopes, dreams and personal challenges of all involved – the diverse contestants, the car dealer and a radio announcer.
“The show really speaks to today’s audiences about understanding diversity and what it means to be an American,” said director Hank Rion. “Winning this truck to these people represents what the American dream is all about. Throughout the show you see why these people need this truck to validate some part of their life.
“It is gritty material for a mainstage and a musical. It is a real, honest and unflinching look into America and its politics.”
After seeing the 2013 Broadway show, New York Times theater critic Charles Isherwood suggested that the music was a fresh break from the typical Broadway sound and has “an authentic and appealing roots-rock vibe.” Music was composed by Trey Anastasio, a founding member and lead guitarist and singer of the indie-rock band Phish. Amanda Green wrote the lyrics and composed some of the music.
Of course, a story with 10 characters all staying in the same basic stage area presents its challenges – namely, visual variety in blocking and choreography.
Rion called that “daunting.” But he and choreographer had their own battle plan for showing the passage of time as well as the toll the contest takes on the 10 contestants.
“This is, hands down, excuse the pun, one of the toughest shows I have ever directed,” Rion said. “Not only is it real and raw, technically it is just 10 people and one truck, the truck itself being a major character in the piece.”
There was also the issue of how a director and choreographer could incorporate the truck into the blocking without the actors being able to remove their hand from it. “It was daunting, to say the least,” said Rion.
As he traditionally does when getting ready to direct a show, Rion did his research, especially what staying awake for four days does to one’s brain.
“A few of the characters literally lose their mind, their body gives out, they can barely function,” Rion said. “I have tried to incorporate that into the struggle of standing on your feet for that period of time.”
Choreographer Kim Cole saw the challenge as soon as Rion told her he wanted to mount a production of the show.
“We wanted to stay true to how those contestants could have been dealing with fatigue to the point of feeling delirious,” she said. Cole trained the actors as if they were in boot camp. She kept breaks to a minimum and forced them to do the most rigorous numbers back to back.
That built stamina, she said. Although it tired them out, it made them work even harder.
“They got a sense of the goal we were striving for and found their second wind, much like the goal for the contestants wanting to win that truck,” Cole sad. “This show has taught us all that being strong physically is only a small part of it. It truly is a test of will.”
Cast member Christine Brandt told Cole that the “boot camp” method was a pivotal moment in the rehearsal period because it brought her to a deeper understanding of her character.
“As an actor in this show, it is a creative challenge I have not experienced before,” Brandt said. “You have to perform beyond the truck to connect to the audience since you are forced to stay with it quite often throughout.
“It’s not showy,” she said of the musical. “It’s intimate and real, full of truthful moments.”
Rion also encouraged his cast to do research into their characters’ real-life counterparts and the actual event, which took place in 1995.
“The cast, which is full of talented powerhouses, has done a great deal of research,” Rion said. “Many of them have actually Facebook-friended the person they are playing. This is unique as it gives the actors a chance to ask them what it really felt like to be on their feet for over 90 hours and what it meant to them to win it. Their real counterparts have been open and honest and love to hear how we are doing the show and have been a tremendous help in our process.”
One cast member, MC Wouters, who plays Kelli Mangrum, went to Facebook to learn more about her character.
“I was able to gain so much background knowledge about her life and the things that she likes and dislikes from her Facebook posts and profile,” Wouters said. “It’s pretty awesome that I was able to make a connection with someone I have absolutely adored playing onstage.”
“Hands on a Hardbody” is definitely not your typical Broadway musical, Rion said.
“It leaves you with a message and leaves you thinking about your own life,” he said. “Now that is the best kind of theater.”
“Hands on a Hardbody” runs through May 21 at the Henegar Center, 625 E. New Haven Ave., Melbourne. It performs 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. Tickets are $26 general, $23 for seniors and military, and $16 student. There is also a $3 processing fee. The show contains adult language. Call 321-723-8698 or visit Henegar.org.
