REVIEW: Hands on a Hardbody
Hands on a Hardbody is back and as relevant - and joyful - as it was 10 years ago
I saw something remarkable tonight. While “Hands on a Hardbody” is a solid musical, the book and score alone are not noteworthy. The production that opened last week at Ensemble Theatre of Cincinnati is a remounting from almost ten years, featuring many of the excellent same cast members. The newcomers to the show are fantastic additions, too, but tonight I saw something special.
Last night, rising Junior Erin Morton from CCM was asked to join the show immediately. She showed up at 10 a.m. this morning, learned the choreography and then the music, and walked through the truck's movements.
She spent the entire day learning the show and—script in hand—went on as “Norma” at 7:30 PM with less than 24 hours’ notice. I don’t want to spoil anything, but Norma is an integral character in the plot and has as much stage time as almost anyone else. She did this with grace, charm, and a huge smile.
I don’t know how many other performers could be this brave.
By the way, Erin’s not the only one who’s been added to the show at the last minute. Sara Mackie, who was in the 2014 version as “Norma,” joined the cast as “Janis” last Friday - but you would never know because she’s fully embodying the character. Reportedly, other intern company members who were understudying have also jumped in. It’s been quite a wild ride for the show.
“Hands on a Hardbody” tells the story of a group of contestants trying to win a Nissan pickup truck by being the last one standing with their hand on the vehicle's body. It’s based on a 1997 documentary by the same name, and while yes, it’s a story about people trying to win a contest, this production is about so much more.
Many of the characters are desperate. The economy has tanked in their Texas towns, but they each have hopes and dreams. The aforementioned Janis (and her husband, played again by Jim Hopkins, who’s cheering her on) were denied food stamps even though they are dining on popcorn and water.
There’s “Greg” (local favorite Andrew Maloney) and" “Kelli” (the ageless Brooke Steele), who have aspirations of moving to California to pursue a different kind of life. “Jesus” (the infinitely likable Franco Velerga) wants to be a veterinarian but needs money for school. “Ronald” (the underrated Deandra Kamau Means), “Chris” (a stoic Patrick Phillips), “Heather” (a feisty Denise Devlin), “Norma” (Morton), and “JD” (the mesmerizing Phil Fiorini) all have their own aspirations. And then there’s “Benny Perkins.”
Perkins is played by the versatile Jared Joplin. As a former winner of this very same contest, he has something to prove. On the surface, he’s a villain - and Joplin leans into the more menacing aspects of the character. But his story arc is one of the more inspirational once we learn more about him.
Rounding out the cast is Michael G. Bath as the host of the contest, “Frank,” the shady car salesman “Mike” (Jamie Cordes in my favorite role I’ve seen him play), the charming Annie Fitzpatrick as the dealership PR manager “Cindy,” and Kate Wilford as the supportive wife of “JD.” Those who have returned (like Wilford and Fiorini) have grown in depth, while the new cast members all bring a fresh take on the characters.
Director D. Lynn Meyers is also back at the helm; she’s crafted an emotionally powerful production. Choreographer Chaz Walcott, limited by the contest's rules and the truck itself, is inventive and exciting with movement and dancing. Musical Director Steve Goers guides these musical theatre performers through the country-infused score with the quality we’ve come to expect from him. Cat Schmeal-Swope’s costumes are character-specific and accentuate the production well.
In terms of sound design, I had difficulty hearing some of the dialogue and lyrics; perhaps the audio wasn’t working as designed, especially at the top of the show. Also, the music often overpowered the vocalists. Brian C. Mehring’s lighting and set design and Shannon Rae Lutz’s props remain theatrical treasures.
The thing that struck me the most about the show is that ten years after I first saw it, things haven’t changed that much. The themes of how immigrants are treated, how economically fragile many households are, and the mental health struggles our veterans face remain as troubling as they were in 2014.
Lucky for the audience, “Hands on a Hardbody” focuses on hope and what is good about humanity.
Thankfully. We need it.
HANDS ON A HARDBODY runs through June 30th at Ensemble Theatre of Cincinnati. Tickets and more information can be found here.