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Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-23 23:25:23

I caught the first preview tonight and I was pleasantly surprised to enjoy it very, very much.

I went into the performance with a bit of hesitancy because of the subject material. The premise creates some obvious challenges for the creative team to make the show engaging and visually interesting enough when all you have to work with is a group of people who can’t remove their hands from a truck.

Also I had fears about the realistic qualities of the documentary transferring to the stage with professional actors. To paraphrase Abed, this is based on a documentary, which is like a real movie, but with ugly people. You wouldn’t want an adaptation to turn into a Christopher Guest film. The “characters” in the film are as real as you can get; how would the material be altered when the real people are swapped out for the likes of Jay Armstrong Johnson and Allison Case? Something too slick and polished would be detrimental for this material

Luckily the creative team made some wise decisions. First of all this is not a movie musical, in that they did not musicalize the documentary. This is not the group of people who competed for the truck in 1995. The competition takes place in present day and the contest is a fully-realized dramatization. It's similar to what they did with the recent Kon Tiki film. That wasn't a frame for frame remake of the documentary (what's the point?), but rather a heightened, fictionalized account of what actually transpired.

One big mistake the producers are making is not advertising the presence of Trey Anastasio on the composing team. There is a definite Phish sound to the score, and I really dug it. Not since Passing Strange have I felt such a freedom in the musicality of a score on Broadway. I was humming the final song all the way down 9th Avenue, and I can't wait to get the cast recording. Amanda Green's lyrics are appropriate, never too clever for her characters, and she must really have an affinity for Schwinn bikes because she mentions them in both the High Fidelity score and in Hardbody.

The structure of the show oddly reminded me of A Chorus Line. There's no plot to speak of- just 10 people standing by a truck (their line so to speak) and taking turns telling the audience their stories and why they should win the truck. They all "hope they get it" and we start hoping some of them win the prize over others in turn. One by one they drop until the last person is standing.

The cast is uniformly strong, and the pretty people ended up not bothering me at all, ha. This is probably Hunter Foster's best role since Urinetown. He's terrific and has a great second act number called, "God Answered My Prayers." He's sort of the Sheila of the group.

As others have mentioned Keala Settle has a showstopper in act one called, "Joy of the Lord." It is an acapella gospel number, only accompanied by Stomp-like pounding on the truck by the other contestants. As the title implies it simply joyous and the staging is inspired. I loved it and didn't want it to end.

Allison Case and Jay Armstrong Johnson had a beautiful duet in act one and developed a sweet friendship as the play moved on. Keith Carradine needed his mic turned up a bit, but he is always a welcome presence on stage. Really the whole cast did nice work.

I really didn't think this was a great idea for a musical, but the creative team proved this skeptic wrong and made me a believer. I'm excited to see this again, which will be very soon.

Another thing though- for a musical about people who have to stand up for 90 hours, why is there no fun gimmick for a standing room policy?! It would be a fun way to build a cult following for the show, and would totally be in the spirit of the story.

Hands on a Hardbody previews thread
Posted by Auggie27 2013-02-23 23:27:23

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The Phish influence is one of the most compelling ingredients here. Didn't know that. Now, I'm intrigued.

Hands on a Hardbody previews thread
Posted by King of the City 2013-02-23 23:32:40

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Now I think I will be rushing this for sure next weekend. Glad to read these great reports as I have been looking forward to this since the transfer.

Hands on a Hardbody previews thread
Posted by RippedMan 2013-02-23 23:37:47

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Is that the set for the whole show? I'm not really sure what I'm looking at besides the truck being covered up? Seems like a great show for being in the round. Shame they didn't go that route.

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-23 23:45:00

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It could have played in the round, but they use the space well. The truck spins around and moves all over the stage, sometimes quite rapidly. The choreography around the truck is often very fun and clever.

One thing that needs some work is making sure the energy doesn't start to lag in act two. I understand the dilemma: these characters have been standing for 80 some odd hours. They wouldn't have the energy to do much of anything so naturally the score becomes more ballad heavy and some of the book scenes were slightly lethargic. I don't think it was a first preview pacing issue either; these people are sleep-deprived zombies. It would be laughable if they were bouncing off the walls, but they need to walk a fine line of making us understand their state of mind and actually being boring.

Hands on a Hardbody previews thread
Posted by PlayItAgain 2013-02-24 00:02:02

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Wow
it takes a little while to kick in but wow what a great night, give Keala Settle the tony now phenomenal performance from her, I really think that this is one of those shows you will get maximum enjoyment out of if you go in not knowing ANYTHING, so much fun to hear people gasp and cry out when people took their hands off the car, if it wasn't for Matilda I'd say id be a pretty solid pick for best musical this year.

Hands on a Hardbody previews thread
Posted by RippedMan 2013-02-24 00:02:09

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Right. But isn't the show about them cutting away and whatnot? So why not cutaway to some upbeat song, etc.

Also, I'm not usually a fan of a show being 90mins, but doesn't this show kind of scream "no intermission?"

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-24 00:12:40

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PlayItAgain- Good as Settle is, Andrea Martin has the Featured Actress Tony all tied up in a pretty little bow. Given the competition thus far for Best Musical though, Hands on a Hardbody will have a surefire spot for a nomination, along with Best Score and Book.

RippedMan- Like ACL this does seem like a "no intermission" type of show, but it ran 2 hours and 40 minutes tonight, and that's way too long to go without an intermission. The contestants get a 15 minute break every 6 hours, so it's easy to work in one of their breaks as the intermission.

Some of the songs allow them to break away from the truck and sing inside their heads, but most of the numbers and all of the book scenes are them holding on to the truck. The truck moves around the stage, but they rarely get to let go.

Hands on a Hardbody previews thread
Posted by macnyc 2013-02-24 00:20:41

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Thanks for the reviews! Now I'm looking forward to seeing this on Tuesday!

Hands on a Hardbody previews thread
Posted by PlayItAgain 2013-02-24 00:25:36

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@whizzer dying to see Pippin , and yes I've heard Andrea is Phenomenal, but man is Keala going to give her a run for her money.

Hands on a Hardbody previews thread
Posted by After Eight 2013-02-24 00:59:12

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It's a respectable effort, earnest and sincere, well performed, certainly nothing to be ashamed of.

Yet I can't say I was much taken with it. The problem lies with the premise itself, static and undramatic. What could be more boring or trying than spending an evening watching people holding on to a truck, other than perhaps, trying oneself to hold on to a truck. Try though it may to liven things up, the show can't overcome this basic problem.

Add to that an uninteresting country score, clichéd, routine characters and situations, and an ugly, never-changing set, and ennui sets in early on.

I thought there were two good songs, both sung by Keith Carradine. The first was an elegiac ballad, "Used to Be'" which called to mind the similarly-themed song sung by Carradine in Will Rogers Follies, "Look Around." The second was the final song.

It's always a pleasure to hear Keith Carradine sing. I'd love to hear him sing "I'm Easy" again.

Hands on a Hardbody previews thread
Posted by PlayItAgain 2013-02-24 01:17:52

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well that was fun while it lasted, count on AFTER EIGHT to bring the wet blanket to the party.

Hands on a Hardbody previews thread
Posted by broadwaydevil 2013-02-24 01:35:32

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That was basically a rave from After Eight. Regardless, thanks again for you phenomenal reviews, Whizzer. Funny how your reviews can get me excited about shows I otherwise had no interest in like this one.

Hands on a Hardbody previews thread
Posted by brotherhoodofman 2013-02-24 01:49:27

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I felt like the car was almost another character, in part because of the movement of the car. It made the characters question themselves and the more time they spent with it, the more it changed them.

Oh, and I need to see "Joy of the Lord" again soon. Like immediately.

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-24 01:53:02

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I was going to say the same, broadwaydevil: those were pretty kind words from After Eight.

I will say that I wouldn't describe the music as a "country" score. Sure there is a country flavor to some of the orchestrations, but it's not really twangy or anything. Just like Phish is a mash-up of so many genres, so is the score to Hardbody. There are elements of rock, funk, soul, gospel, country and folk in both the melodies and orchestrations.

Trust me I didn't have much interest or hope for this show either, and as I texted my friends walking out of theater that I thought it was great they were all like, "Really? Cool, well I'm looking forward to next week then!"

The problem is relating the actuality of the strong show that is hiding behind the deceptively boring premise. Tell most people that they are going to see a show about 10 Texans touching a truck and singing about touching a truck and talking about touching a truck for 2 hours and 40 minutes and you'll have them running for the hills! The best way to sell the show will probably be on the strength of the score (and performances).

Maybe it won't be everyone's cup of tea, but I hope it finds an audience and has a chance to run. It's not a perfect show, but there's much to admire and enjoy.

Hands on a Hardbody previews thread
Posted by PlayItAgain 2013-02-24 02:03:16

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@brotherhood

Awesome how the actors move the car themselves, except for right at the top tonight where it ran into one of the sign post things and all the lights shook around lol

Hands on a Hardbody previews thread
Posted by KylePKJP 2013-02-24 02:38:04

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Let me first say that I know and respect that everyone is entitled to their opinion, but I am always amazed at how the same people on this board log on just to back-hand some lame-a$$ compliment like "a respectible effort" shrouded in ridicules, self-important perceptions and claims that it "has a boring premise."

A good creative team came together, adapted and brought a show about characters waging their future and pinning dreams on winning a truck. That's a powerful story. If all you got from it was the premise, you have zero skill at reviewing a show and taking in it's story.

I saw this at La Jolla and the characters motivations for taking part in the contest and their willl to keep their eye and "hands on" the prize was enthralling and profound. Much more so than I found the stories in Rent and the adaptation of Spring Awakening.

I don't know what the hell show you saw, but it sounds like you need to stop seeing shows all together because you're never going to be satisfied with anything you see. Ease off your need to pi$$ on a show because you fancy yourself a critic when rather it sounds like you're just being a plain old nasty b!tch.

Hands on a Hardbody previews thread
Posted by PlayItAgain 2013-02-24 02:53:48

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ok lets not get ahead of ourselves, RENT won a pultizer. HOAHB is good but not like Pulitzer winning good.

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Posted by KylePKJP 2013-02-24 03:16:57

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I'm in no way saying Hands On A Hardbody is worthy of a Pulitzer. But I have to add that there has always been a strong argument that Rent was not deserving of that honour.

Hands on a Hardbody previews thread
Posted by perfectlymarvelous 2013-02-24 03:21:09

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Whizzer, your review totally just made me want to see this show. I wasn't too sure it was my cup of tea at first (because of the subject matter), but I'm also very intrigued by the idea of musicalizing a documentary.

Hands on a Hardbody previews thread
Posted by KylePKJP 2013-02-24 03:22:52

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Marvelous... you won't be disappointed. :)

Hands on a Hardbody previews thread
Posted by Luv2goToShows 2013-02-24 07:33:44

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Thanks, WhizzerMarvin TrinaJasonMendel love (and respect) your opinions and reviews. I have a ticket for this in April, but now I am curious and want to see it sooner, will have to grab a ticket on TDF for this week. : )

Hands on a Hardbody previews thread
Posted by After Eight 2013-02-24 07:54:29

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Play It Again and Kyle,

Sorry to have to be so blunt, but considering your rudeness, I'd say I'm treating you with a velvet glove :

You both need to grow up----- and fast.

This is a discussion board, not a cookie-cutter love fest. There is NEVER going to be unanimity of opinion, no matter how forcefully you try to impose it. You're going to have to be mature enough to accept that, and not stomp your feet in a hysterical temper tantrum like some four year old.

"Let me first say that I know and respect that everyone is entitled to their opinion,"


You'd never know it from your vituperative rant.

"I saw this at La Jolla and the characters motivations for taking part in the contest and their willl to keep their eye and "hands on" the prize was enthralling and profound."

I found it boring and clichéd. So what? Big deal. Why is it any skin off your back?

"I don't know what the hell show you saw, but it sounds like you need to stop seeing shows all together because you're never going to be satisfied with anything you see."

Nonsense. I like what's worth liking. Just recently, I was in seventh heaven over Donnybrook!, which I wish I had seen a second time instead of the show last night.

And where do you get off telling a theatregoer not to go to the theatre? You need to learn some humility, not to mention manners.

" Ease off your need to pi$$ on a show because you fancy yourself a critic when rather it sounds like you're just being a plain old nasty b!tch."

See above comment.

And by the way, the people who constantly lavish inordinate praise about a show's merits are the ones who are doing harm to the readers on this board, because they lure people into the theatre, who then find themselves "taken." We saw this with Once. Rave after rave on this board after the first previews. One dissenting voice, raked over the coals, naturally. And now, a year later, we find the most mentioned show on threads dealing with overrated shows is----- Once.

I now await your apology (all the while cognizant of the French saying, "Wait for me under the elm.... You'll be waiting a long time"). LOL.

Hands on a Hardbody previews thread
Posted by leefowler 2013-02-24 08:02:33

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After Eight is correct in saying that this board would be a dull place indeed if only positive views were expressed.

After Eight is incorrect, however, in suggesting that After Eight's opinions are the only correct ones.

I saw Once in previews, and loved it. That doesn't mean that I was "taken in" by it, or that After Eight's negative view of it has turned out to be the correct one. I thought it was great when I saw it, and that's that. Someone's negative view of it is equally valid, but not more so.

Hands on a Hardbody previews thread
Posted by April Saul 2013-02-24 08:34:58

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After Eight, you are of course entitled to your opinion, but personally, you have dissed so many productions I like that at this point, a negative review from you makes me think I'll probably like the show! Just saying...

Hands on a Hardbody previews thread
Posted by tazber 2013-02-24 08:35:30

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Thanks for all the wonderful reviews. Even After Eight's review was insightful and well rounded.

I wasn't really excited about this (not a Phish fan) but when Whizzer raves and After Eight doesn't outright pan then that's a show I have to see.

Hands on a Hardbody previews thread
Posted by trentsketch 2013-02-24 08:59:27

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I think the reviews so far are very informative. I'm willing to give a review in one of these threads a good bit of thought when they actually put thought into their argument. Everyone so far has done that.

The only thing I don't agree with is singling out Once as proof of too much positive feedback. Every show that wins Best Musical gets similar backlash. Last year, right before the Tonys, threads were popping up about how overrated and boring The Book of Mormon was. The same two years ago with Memphis and three years ago with Billy Elliot. It's part of the life cycle of any popular media. Commercial theater gets hit with it harder because people can have months or even years to hunt it down rather than the weeks of a film's life cycle or days of a TV episode's half-life.

The discussion of the media--praise, condemnation, and everything in between--will impact how you view the show. No piece of art or media exists in a vacuum and no one is incapable of shutting out all context from the discourse about some aspect of a production or the context the creative team was inspired by to view art in a vacuum.

Hands on a Hard Body, God bless it, is a wacky idea for a musical. When I heard it announced, I immediately understood the appeal because of the documentary. That doesn't make a two act musical about people standing around a truck for days any less bizarre. This show is going to be polarizing in the same way shows like Once (actor musicians, adapted pop/folk score, non-narrative score), Spelling Bee (over the top actors as children conceit, big audience participation, slight subject matter), and Fela! (rock concert as theater, non-narrative songs, biographic & political material) were all polarizing. The conceit of the show can be just as informative as the book, the score, the design, or the casting. Not everyone is going to respond to every concept and that doesn't make an opinion right or wrong; it makes it their opinion. If they do more than just say "it's great/it sucks" and walk away, then they're providing a worthy view of the show.

Hands on a Hardbody previews thread
Posted by After Eight 2013-02-24 09:06:36

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"Someone's negative view of it is equally valid, but not more so."

That's not how it is seen by many here. When I gave the sole negative review of Once-- with well-reasoned arguments by the way --- it was NOT treated as equally valid. Quite the opposite. I was demonized, vilified, excoriated, spat upon....you name it. Now it turns out that many people disliked it as much as I did.

April Saul,

As you know, you are one of my favorite posters on this board, so whatever you like is fine by me. And if I'm a barometer in reverse of what you will like, then I'm only too happy to help out.

Hands on a Hardbody previews thread
Posted by leefowler 2013-02-24 09:20:03

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After Eight,

Over all I agree with your posts...What I disagree with is when you say, "I like what's worth liking".

Hands on a Hardbody previews thread
Posted by dramamama611 2013-02-24 09:41:32

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AfterEight, as much as I usually disagree with his comments, has every right to dislike (and TALK about his dislike) as every one else. Yes, his style of writing certainly makes it sound like he knows he is right, and everyone else is wrong. So what? How does that change what YOU feel about a show?

I loved Once. The nearly 100 people I brought with me loved Once. That doesn't that AfterEight needs to like it.

I hated (with an intense passion) Rent. The world loved it. It ran for 12 years. Doesn't make me wrong.

How is criticizing a poster any different than criticizing a show? It's not, in fact it's worse -- you are knowingly attacking an individual, not a piece of work. (The work, BTW, expects criticism.)

Hands on a Hardbody previews thread
Posted by theatergeek3 2013-02-24 09:43:30

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I saw the previews last night and Hands was honestly one of the best shows I've ever seen. I thought it would be really good but I didn't think t would be THAT good! Keala Settle & Hunter Foster TOTALLY deserve Tony's; they were just amazing. It was so moving but it was also funny which I did NOT expect so it had a good balance. When people took their hands off the car it was always so terrible because you knew how much it meant to them & how much they wanted to win. I will definitely be coming back to this show again! I would definitely recommend it. The only problem I had were mics. I felt like the orchestra was often louder than the people and you couldn't hear them, or even when the orchestra wasn't playing it was a little hard to hear some of performers, especially Keith Caradine.

Hands on a Hardbody previews thread
Posted by Sinfonian4life 2013-02-24 10:04:31

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@PlayItAgain well i missed the part it a sign. When they were spinning the truck really really fast during, i believe Joy, i thought it was going to a chair. I was in row O, orchestra center and, as i said before, creative was behind me and they were making notes for changes. You could hear them whisper which made the nerdy musical boy inside me even happier. They were also having a good time with the performances too. Cant wait to go back, in the meantime I'll keep my hands on it.

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-24 10:18:28

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perfectlymarvelous and luv2go, I hope you do go see it (earlier luv2) and look forward to hearing what you both think!

re: After Eight, yes the board would be a boring place without dissenting opinions. Discussions became impossible when they are one-sided. For me it's not the content of what After Eight writes, but rather the tone in which he usually writes that rubs me the wrong way. His initial comments about Hardbody were not written inappropriately at all though. He (mostly) didn't like it and told us why. There was no name calling and he didn't make personal attacks until he was attacked. Many of us, myself certainly included, have long not so pleasant histories with After Eight, but that doesn't mean he has any less right to post on this board.

Hands on a Hardbody previews thread
Posted by GatorNY 2013-02-24 13:01:27

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Just got a ticket on TDF for Tuesday night. Very excited after reading these posts. Sounds like the show is in great shape already. Do you think there will be many changes before it opens?

Hands on a Hardbody previews thread
Posted by Kad 2013-02-24 13:29:41

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Whizzer, your review really piqued my interest. I have to admit, I wasn't really sure what to make of the show from what I had read about it. And I can't say I really expect it to last very long on Broadway. But I'm all for something as unique as this seems to be.

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-24 14:07:35

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I don't think there will be many changes during the preview period- honestly they don't need to make many changes. Act two needs some minor tightening, but it's not like there was some glaringly bad song or cringeworthy book scene that needed to be rewritten. The show is in great shape already. I'm not familiar with the version out of town, but maybe the creative team did what they were supposed to do and fixed any problems before it got to New York!

That said, my least favorite song was John Rua's in act two. It was alright, and he sang it very well, but (slight spoiler) since his character starts to hallucinate things I would have liked to see some of that worked into the song lyrically and through the orchestrations. This is minor, nit-picky stuff though.

Kad, it may well not last long on Broadway if they can't figure out a way to market it effectively. I don't think the show will be for everyone, but I'm very glad some producers took the risk to bring it in.

Hands on a Hardbody previews thread
Posted by sundayclothes2 2013-02-24 14:16:18

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Well, they've completely re-designed the set since La Jolla.

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-24 14:24:42

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I just looked up some pictures...the truck out of town appears to be black and on Broadway it is red. That alone is a great change. Loved the red truck.

Hands on a Hardbody previews thread
Posted by Kad 2013-02-24 14:30:53

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Oh yeah, the marketing is terrible. No idea of what it's about, who it's by... anything about the show, really, just seems to be glazed over.

Hands on a Hardbody previews thread
Posted by sundayclothes2 2013-02-24 14:49:47

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The bilboard background is also new. In La Jolla, it was just a sky...

Edit: In LJ, it also didn't look like a parking lot... at all. So I'd say that is another great change.

Hands on a Hardbody previews thread
Posted by Matt Rogers 2013-02-24 15:06:32

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Let me get this straight. You're only allowed to post a review of this thing if it is a gushing, googly, practically in the producers' pocket rave??? If you do anything less than pass out from pure joy after seeing it, you are not allowed to post a review without all you bitches reaming someone a new one??? I'm just trying to get the rules straight here.

Hands on a Hardbody previews thread
Posted by Kad 2013-02-24 15:46:05

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If that's what you're trying to do, you're doing a terrible job.

Hands on a Hardbody previews thread
Posted by leefowler 2013-02-24 16:10:07

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The rules are this: If you post something nice, you're a shill, and if you post something critical, you're Satan.

Hands on a Hardbody previews thread
Posted by dramamama611 2013-02-24 16:23:19

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Truth be told: you are only a shill if you join JUST because you needed to sing the praises of a brand new show.

If you have negative things to say, it means you are a hater of all things b'way.

Hands on a Hardbody previews thread
Posted by Matt Rogers 2013-02-24 16:28:44

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Ah, thanks. Now I understand.

Hands on a Hardbody previews thread
Posted by ACL2006 2013-02-24 16:49:47

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well, it's still early, but I'm going to say the Best New Musical Tony award will be between this & Matilda. Unless Kinky Boots or Motown shock the hell out of us, it's between these two shows only right now.

Hands on a Hardbody previews thread
Posted by April Saul 2013-02-24 23:49:54

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Awww...After Eight, I enjoy reading your posts as well! They're not completely contra-suggestive, but I think I generally like stuff more than you do...perhaps because I live so far from NYC that once I've made the trip, I have to try to put a good face on it! However, I am going to post something kind of negative about the new Annie Baker play on this board, can't sugarcoat that one. Be well

Hands on a Hardbody previews thread
Posted by winston89 2013-02-25 08:45:30

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I agree with Whizzer when it was said that they should have used Trey more with the marketing. After all, he is the face of a very successful rock band with an almost cult following. And, there are a lot of people out there who follow the rock world but not the theatre world and no nothing of Trey's involvement with the show. But, since I am into theatre and the concert world, when I told my concert going friends about this show, and that Trey was involved, they wanted to get tickets right away. So yes, while other members of rock bands have written shows, or pop singers for that matter, I think that Hands on a Hardbody is different. After all, you have, as one of the songwriters, the face of a band with a cult following. Not the keyboardist as in the case with Memphis. The actual front man. After all, how many bands can sell out The Garden on a New Years run three years in a row or have a sold out festival of just their music? Seems pretty dumb to not take advantage of that on a marketing side of things.

I am very much looking forward to seeing this show. I heard Phish do Burn That Bridge, and I am excited to see this because of the music.

Hands on a Hardbody previews thread
Posted by Mercades 2013-02-25 08:56:40

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Though phish has a huge cult following, they are hardly the type of people to go to a broadway show.

And knowing it was the writer from phish might have actually worked in a negative way for them, they aren't a well respected band. It's not like John Lennon came back from the dead and wrote a musical, it's phish.

Either way can't wait to see it!

Hands on a Hardbody previews thread
Posted by brotherhoodofman 2013-02-25 08:58:35

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I completely agree. I go to shows alone because my husband hates theater (the only thing he's ever seen with me was Avenue Q, because dirty puppets are funny). When I told him I was seeing Hands on a Hardbody Saturday night, he commented that it was a ridiculous name. When I told him Trey Anastasio wrote the music, he told me to buy him a ticket immediately. Marketing his involvement more would drive a lot of music fans to this show.

Hands on a Hardbody previews thread
Posted by newintown 2013-02-25 12:41:23

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I think it's a mistake to assume that a show will sell significantly merely because one of the writers has a (non-theatre) following. American Idiot hyped the Green Day connection to the exclusion of anything else and it ran for only a year. Nine To Five, by the beloved Dolly Parton, couldn't tank fast enough (and you'd think hers would be the kind of fans with the cash and inclination to go to the theatre).

I guess Marketing Ploy can be a fun game, but it's usually the quality of a show that matters, not the pop star affiliated with it.

Hands on a Hardbody previews thread
Posted by winston89 2013-02-25 14:46:28

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Mercades,

I disagree, knowing that the writer from Phish worked on the show would only help. If you have even a mild interest in Phish, then knowing that Trey wrote the music would pique your interest even a little. If you don't know who they are/ don't like them, then it might not work for you. But, I feel that the number of people who it does work for is greater than the number of people who it won't work for.

Brotherhoodofman, you're right in saying that they need to market this show differently and use his name more with advertising. I have friends who are more of the concert going type than the theatre going type. As soon as I told them that Trey wrote a musical, their response was an enthusiastic one, and they would then ask me about it. They don't follow theatre news at all. But, I read the same music magazines/websites that they do as well. And, never has there been one mention of this show in a magazine or website that caters to these kinds of music fans.

Newintown, I do think that there is a big difference between Green Day and even Parton fans and Phish. Green Day fans are kids who are high school/college aged. While the show was marketed like hell on MTV, the issue was that their core fanbase were people who were too young to travel to New York on their own or flat out didn't have the money to accomplish such a trip. Most of the comments I have seen on Youtube videos relating to the show were by people who would say things like, I like Green Day, and the show looks amazing, and I'd give anything to be in New York to be able to see it.

Parton fans are considerably older than Green Day or even Phish fans. And, I have always gotten the impression that many of them don't live near New York. So, to see 9 to 5 as just a parton fan would require an expensive trip.

Phish/Trey fans are an interesting mixture of the two. Some of them are college aged, most are just out of school/working. They are a fanbase that is known for traveling around to see jambands (Trey's work both solo and with Phish is included in this) and would have no issue traveling en mass to where ever Trey or Phish is. The show being in New York is an added bonus since there are a lot of jamband type concerts that take place in New York all the time, to the point that it has become a kind of hub to these kinds of music fans.

I know that playing the marketing ploy game can be tricky. But, it is something that should at least be tried with Hands on a Hardbody. I think that it says something about Trey's marketing ability when he is able to sell out venues both with Phish and on his own based on zero advertising and word of mouth only. I also think that the fact that they allow fans to audio record Phish concerts for online circulation (provided that the person doing the recording is recording and sharing for the love of the music and not to make a profit) also has helped launch Trey to fringe cult status that, like I said, the producers would be stupid to not at least try. What's the worst that can happen?

Hands on a Hardbody previews thread
Posted by wickedfan11 2013-02-25 15:54:53

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Could someone post a list of the musical numbers please?

Hands on a Hardbody previews thread
Posted by theatergeek3 2013-02-25 17:57:57

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@Wickedfan11-Here are the musical numbers:
Act One
It's a Human Drama Thing
Alone with Me
Master Benny's Winning Strategies
A Little Somethin' Somethin'
If I Had a Truck
My Problem Right There
Burn That Bridge
I'm Gone
Joy of the Lord
Stronger
Hunt with the Big Dogs
Act Two
Hands On a Hardbody
Born in Laredo
It's a Fix
Used to Be
God Answered My Prayers
The Tryers
Joy of the Lord (Reprise)
Keep Your Hands On It
Hope this helps!

Hands on a Hardbody previews thread
Posted by wickedfan11 2013-02-25 18:40:32

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Thanks! I'd love to know which characters sing them, too, if it's not too much trouble.

Hands on a Hardbody previews thread
Posted by theatergeek3 2013-02-25 19:25:12

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Of course!
Act One
It's a Human Drama Thing-Company led by Mike
Alone with Me-Virginia
Master Benny's Winning Strategies (I made a mistake-this song was actually cut & replaced by "Brothers in the Storm" which is sung by JD & Benny)
A Little Somethin' Somethin'-Don & Janis
If I Had a Truck-Heather
My Problem Right There-Ronald
Burn That Bridge-Mike & Heather
I'm Gone-Greg & Kelli
Joy of the Lord-Company led by Norma
Stronger-Company led by Chris
Hunt with the Big Dogs-Benny
Act Two
Hands On a Hardbody-Frank
Born in Laredo-Jesus
It's a Fix-Janis
Used to Be-Company
God Answered My Prayers-Benny
The Tryers-Benny & JD
Joy of the Lord (Reprise)-Norma
Keep Your Hands On It-Company
Other than the "Brothers in the Storm" mistake, I also forgot to include "It's A Fix (Reprise" which is sung by Heather & comes after "Used to Be". I also put the songs in the wrong order. I made the mistake of looking online instead of at my Playbill. If you want I can post again with the right order (it's still wrong on here 'cause I copied & pasted)

Hands on a Hardbody previews thread
Posted by uncageg 2013-02-25 21:44:40

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I know some Phish fans and they are loyal. 2 of my best friends are and went nuts when I told them about the show and almost died when I told them Trey was at the sneak peek I attended. I think putting his name out there will help and the subject matter, in my opinion, would not be a turn-off to his fans. JMO

Hands on a Hardbody previews thread
Posted by LimelightMike 2013-02-25 21:55:10

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Where's the orchestra, in the pit?
Any idea what the front row is like?
Is the stage high?

Hands on a Hardbody previews thread
Posted by jbm2 2013-02-25 22:27:59

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What is the running time?

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-25 23:11:51

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I went back again tonight and liked it all over again. After only one performance the second act felt so much tighter and energized. There are still a few balance issues with sound, but Keith was easier to hear this evening.

The score is lodged more firmly in my ear and I'm humming the tunes as I type. The show is not perfect, but for me it is oh so easy to love.

BTW the audience was full of Broadway actors; I think the entire cast of Kinky Boots was in attendance.

Hands on a Hardbody previews thread
Posted by broadwaydevil 2013-02-25 23:37:00

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BTW the audience was full of Broadway actors; I think the entire cast of Kinky Boots was in attendance.

Presumably all comped. Not exactly a good sign, though obviously it's still so early.

Hands on a Hardbody previews thread
Posted by RaisedOnMusicals 2013-02-25 23:43:03

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Tighter? The show tonight ran 2:50. They need to take a chain saw to this, not a scalpel. There is good potential here, but neither act should run more than one hour tops.

Hands on a Hardbody previews thread
Posted by broadfan327 2013-02-25 23:44:39

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I saw the second preview tonight and while I didn't hate it, I didn't love it. Here are some of my rambling thoughts. It drags, especially in the second act. They should cut ten or fifteen minutes. I was sitting in the mezzanine and the sound was a little off, I am sure it will get fixed. The score is pretty good, much better than other scores I have heard from last year.

The main problem is with the book. I didn't care a whiff about any of the characters. I wasn't emotionally invested into any of them. I couldn't care less who won the truck. The performances were very good. The actors are limited to what they can do because they are holding onto the truck. I think they should let go more of the truck during their solo numbers.

Hands on a Hardbody previews thread
Posted by jnb9872 2013-02-25 23:46:14

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Worth noting that, like Putnam County Spelling Bee (I would guess) the playbill does not list who sings what song, so as to avoid spoiling the results of the contest.

Saw it tonight, certainly haven't seen anything like it in a long time, if ever. It has wonderful little moments of comic absurdity (the contest, after all, is innately funny when they come to a sudden halt after a musical number and everything, again, is static and silent). The book is actually pretty brave for the way it handles the mind-numbing boredom of the contest; never experienced as many (or as justified, mind you) moments of "dead air" in a musical before. Quite a unique effect, to me at least, and a lot of fun to explore.

The creatives did a pretty great job keeping the show moving, amazingly, even within the confines of the story. The disbelief-suspending choreographic breaks from the contest all worked fluently for me (though the dances that didn't break the convention and were done with keeping everyone on the truck, especially "Joy of the Lord", were the most entertaining to watch.) Though it started off sweet but slight, I wasn't emotionally invested until the stretch at the end of Act I. From "I'm Gone" (a tremendously yearning, hopeful ballad/duet) through "Joy of the Lord" (if they are willing to go with it and its a capella/gospel/hysteria nuttiness, it'll be a truly memorable song to excerpt for the Tony's) to "Stronger" (a rich, deeply-felt ballad for the guilty-survivor Marine Vet, and the song stuck in my head tonight as I write this), there was about 20 minutes of Broadway magic to rival any other traditional musical.

The rest of the show doesn't equal that stretch, in my opinion, but it happily coasts on the momentum of it and doesn't do anything to squander it. By the end, I found the eventualy winnowing of contestants to be a pretty effectively-done series of little dramatic moments. Each hand that came off the truck elicited its own particular response (some more than others, but some contestants' stories come to more dramatic conclusions than others.) I'd give a solid B grade overall, with some Mileage May Vary of course, but it's well worth going if you're curious. There ain't nothing like it in town, that's for sure.

Hands on a Hardbody previews thread
Posted by Up In One 2013-02-26 01:44:48

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Saw the Monday night preview and found myself crawling out of my skin for the first 30 minutes until the songs "I'm Gone" & "Joy of the Lord". Even then it only got interesting because the songs, performance and staging came together for something entertaining, not because the musical took flight.

The biggest disappointment for me was the book. Doug Wright of "I Am My own Wife", "Quills" and to a lesser extent "Grey Gardens" and an even lesser extent " The Little Mermaid" has written a book whose major story-line is the incompetent (read ridiculously unbelievable)management of a car dealership. I could have done without those two characters all together. In its place the show could have traveled further down the stylized staging route it teases with. There are way too many contestants vying for book time to develop anything beyond a passing interest in their stories - while we waste precious minutes on the salesman's wife's kitchen marble choices. All of the book scenes are squandered as bridges to the songs which are essentially pop songs (country western?) with a bit of a social conscious.

While Trey can write a tune the show needed a music & lyrics dramaturg to grow the songs into something more interesting dramatically. They are all essentially cabaret or pop songs in format. The staging is so static it reinforces the idea that we are watching a five day marathon, that might never end. You don't have to check your program for the musical numbers to figure out when it will end. You just watch each contestant loose until there was none. Nothing on stage changes except for the car which gets pushed around the stage so much one starts to grow concerned for the actors safety. It takes on a bit of a cirque du soleil thrill ride during "Hunt with the Big Dogs".

A big thrill of the evening was realizing who cast member Dale Souls was. Her renditions of "Lion Tamer" and "West End Avenue" were the highlight of Stephen Schwartz "The Magic Show". She puts in a solid performance here. We will probably be remembering Keala Settle's performance in this show 38 years from now the same way I remember Dale Souls' in "The Magic Show". A great performance which could have been amazing if the material were better.

It looks like the best supporting actress race is going to a tuff one with Keala, Andrea Martin in Pippin and Annaleigh Ashford in Kinky Boots - I saw Boots in Chicago and Annaleigh is phenomenal, she also has the best material of the the three women I just mentioned. After tonight's performance and having seen Kinky and listened to Matilda's CD I think Cyndy Lauper should start writing her acceptance speeches for best score.

The audience reception was friendly but quiet most of the night with sections of the audience reacting to some of the obvious politics in the piece. The numbers I mentioned plus the first and second act closers received very enthusiastic responses. We lost a few people in my section of the mezz at the intermission. Show clocked in at 2 hours and 45 minutes with intermission. Way too long for what it is. The second act opener could be done away with and something needs to be done to the first half hour - crickets could be heard. The soldiers return in Act II which inspires a second number in a row for Hunter Foster seems unnecessary and too rushed from a development perspective. I think this show would have played better at New World Stages. It did not hit me as a Broadway show. Better yet Branson Mo. I think Neil Pepe might not have had enough musical experience to helm this.

Hands on a Hardbody previews thread
Posted by broadfan327 2013-02-26 08:33:58

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Up In One stated it much better than I did. I agree with his/her assessment.

Hands on a Hardbody previews thread
Posted by brotherhoodofman 2013-02-26 08:43:28

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When I saw the show Saturday night, it was about 2 hours 35 minutes. The show started about five minutes late, and intermission was 25 minutes.

There is room for cutting, as others have stated. If I were to trim characters (because there are too many on the truck to get to know), I'd cut the love story ones. That story didn't gel to me because there simply wasn't time to get to know them. They flirted, then were madly devoted to each other 15 minutes later. I felt like that was a plot line that could be dropped to allow more time to other characters' development.

Hands on a Hardbody previews thread
Posted by After Eight 2013-02-26 10:50:33

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"The disbelief-suspending choreographic breaks from the contest all worked fluently for me"


Not for me. In fact, they not only failed to suspend disbelief, they engendered it. The problem with a show like this that has no chorus is that the characters have to double as one. In this case, they are all so specifically defined that it jars to see them engaging in songs in which they should never be singing, even if they're supposed to be out of character. Consciously or unconsciously, these incongruities take you out of the moment, to the detriment of the song and show. It seems ludicrous to see the "bad guy" engaged in a joyous gospel number, or
people very happy with Starbucks and Walmarts singing a song lamenting the existence of such enterprises.

As for the songs that seem to appeal to many here, I found them all fairly flat beer, strictly paint by numbers fare, musically undistinguished and uninteresting. The gospel number, whether acapella or not, is the same sort of thing that we've seen trotted out countless times to try and rouse a somolent audience.

Hands on a Hardbody previews thread
Posted by jnb9872 2013-02-26 11:02:52

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You either accept the conventions of a show or you don't. I had no problem accepting each time the songs broke away from the reality of the competition... suspension of physical as well as personal reality as far as the characters becoming a makeshift chorus, worked perfectly fine for me most of the time. For some of the songs at the beginning of the show, "My Problem Right There" and "Brothers in the Storm" for instance, it took me out of it, either because I wasn't used to the convention or the material wasn't as strong yet. But "I'm Gone" picked up the quality and "Joy of the Lord" ran with it, so by "Stronger" I was fully onboard with it and it didn't bother me much after that stretch.

Hands on a Hardbody previews thread
Posted by After Eight 2013-02-26 11:17:35

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"You either accept the conventions of a show or you don't."

The show has to make you accept them. And to do that, it can't be so far-fetched as to make you question them. In other words, in Carrie, you can't have the teacher acting as if he's one of the kids singing about what they're going to do at the prom. In The Shaggs, you can't have the mother appear in a scene as one of her daughters' high-school classmates.

In this show, I think it would be better for some songs not to be sung with a chorus. Keith Carradine's song would be more credible and affecting if sung
alone.

Hands on a Hardbody previews thread
Posted by mamaleh 2013-02-26 11:45:25

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I must admit I'm intrigued by the concept and by the comments of a co-worker who caught an early preview. She not only praised Keala Settle to the skies but also liked the score. I'm not usually big on country-flavored tunes but was assured I'd like this score. So I'm looking forward, with more than a little curiosity, to seeing this in a few days. Will report back.

Hands on a Hardbody previews thread
Posted by newintown 2013-02-26 12:07:29

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The descriptions of the show make me think of that unbearable Happiness a few years back (or the very enjoyable Spelling Bee) - a group of disparate folks are thrown together in an unusual circumstance, but they all get to break away to sing fantasy cabaret songs about their individual lives/problems/hopes/dreams/aspirations. In other words, a revue posing as a book show.

Hands on a Hardbody previews thread
Posted by jnb9872 2013-02-26 12:07:33

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I agree with everything you said, After Eight, except for the underlying belief that the convention was so far-fetched as to make me question it. As I wrote, my questions were washed away by the production's increasing quality as the first act moved along. Or perhaps my opinion of the quality increased as I accepted the convention. Maybe the first few songs are necessary sacrifices to pull the audience onboard. (I don't think it's true, as I cannot recall much of the melodies of the first five or so songs, but can distinctly recall each of the last five or so of the act; I just like not to rule out possible explanations or others' experiences.)

I'm sorry it didn't work for you to the extent it worked for me or (presumably) others for whom it worked from the get-go, even. No one intends to dislike a show, it's a souring feeling when it happens, wished upon no theatre-goer.

Hands on a Hardbody previews thread
Posted by jnb9872 2013-02-26 12:10:38

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I think Spelling Bee and Chorus Line are especially good comparisons for the structure of the show, but I happily accept them as book shows because the element of competition provides a dramatic structure that is involving on an emotional level (to varying degrees in each, of course, with varying emotions.)

Hands on a Hardbody previews thread
Posted by Luv2goToShows 2013-02-26 12:28:36

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I grabbed a ticket on TDF and saw it last night. I really liked it and am looking forward to seeing it again. I am not a fan of country music so I was glad it was not too country, just enough Texan. I enjoyed the story, but I had a thought, since each character had their own reasons for winning I wonder if the creative team considered having variable endings/outcomes to change things up to keep the audience guessing. The cast is strong and very talented, loved some of the songs and hope there will be a cast recording.

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-26 12:38:50

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newintown- The friend I saw the first preview with likened Hardbody to Happiness (which I loved and saw 5 times, so maybe I'm a sucker for this format of show).

I love that all the characters join in each time someone delves into his or her fantasy number. When Jacob Ming-Trent launches into "My Problem Right There" and the three young women become his back-up singers and perform Supreme style choreography, all the while keeping one hand on the truck, it makes me giddy. Of course these women don't know him or the problems he's singing about, but it's his fantasy, so why not?

Concept musicals will polarize people and this show is no different.

Hands on a Hardbody previews thread
Posted by newintown 2013-02-26 12:52:58

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Sometimes the confessional revue/musical works well, if the book bringing the characters together or the score are particularly good (as with Chorus Line, Assassins, or Spelling Bee).

Other times, one sits there waiting for everyone to get their moment, so the audience can be released (I admit, that's how I felt at shows like Happiness and Welcome To The Club).

As always, the biggest factor is how well the material lands for the individual viewer.

Hands on a Hardbody previews thread
Posted by WhizzerMarvin TrinaJasonMendel 2013-02-26 13:07:03

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That's true, and I also realize that I am very much in the minority of people who thought Happiness was inspired!

I'm not usually too much of a sap, but something about the characters and setting get to me with Hardbody. If one doesn't care about the characters I imagine this show would be an ordeal to sit through.

Hands on a Hardbody previews thread
Posted by goldenboy 2013-02-26 14:31:50

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I have not seen it.
It may be wonderful.
It may be awful but truth be told.. it sounds awful.

But being the musical theatre aficiaionado I am... at some point I will go and I will either be pleasantly surprised or go WTF as I did with Rent and Once.

Maybe I don't like show's with four letters? That can't be right.. I loved Hair.

Hands on a Hardbody previews thread
Posted by Mister Matt 2013-02-26 14:57:07

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The more After Eight talks about the show, the more convinced I become that I will love it. The concept sounds wonderful.

Hands on a Hardbody previews thread
Posted by Up In One 2013-02-26 16:36:26

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The concept for Hands On was not at all the issue for me. A Chorus Line is my number one show of all time. Loved Spelling Bee. I find concept shows very interesting. Hands on wants to have it both ways, a stylized competition in parenthesis within a realistic car dealer in trouble story arc. Sometimes its style over content here neither style nor content are compelling. I think if they take the 90 best minutes and step up the concept it might work.

Hands on a Hardbody previews thread
Posted by katie_fish 2013-02-26 17:03:24

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I just saw Hands on a Hardbody last night and LOVED it. Knowing Trey Anastasio, Amanda Green and Doug Wright were on the creative team... and that Hunter Foster and Allison Case were in the cast was all enough to get me there. SO HAPPY I decided to check it out, because it was one of the most fun and different shows I have seen on Broadway in a long time. I was so interested to see how they could turn the documentary (which is great and you should totally see it if you are going to see the show) into a musical. and they succeeded in such a creative way. i personally love the music, and found myself thoroughly entertained starting in the second number "if i had this truck." soon after comes the song "my problem right there" with jacob ming trent and the 3 female contestants singing as his backup singers is great. then "I'm gone" the story of the 2 young contestants dreaming to get out of Texas is phenomenal . allison case delivers a beautiful and emotional performance, alongside jay armstrong johnson who is the adorable fellow contestant crushing on her. the pair make for a very memorable number (still have this one in my head!). then comes joy of the lord and WOW! it's unbelievable, and you WILL be jumping out of your seat in excitement. it's that kind of number that you can't help but just keep smiling and praising brilliant performers and creators. keala settle is incredible in it. the whole cast is involved and together they deliver a complete show stopper. 'stronger' and a song called 'hunt with the big dogs' round out a great 1st act. I thought act 2 was great as well! and leads to some fantastic moments and a very sweet finale. Hunter Foster has another show stopper toward the end. I could go on and on. The entire cast is great. Really no weak links at all. Am already looking forward to seeing the show again when it opens. Hope to see this one getting some cred at the Tony's!

Hands on a Hardbody previews thread
Posted by jnb9872 2013-02-26 17:52:14

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I'll also agree with everything that's been said, pretty much, about the dealership storyline being the lowest points. Thankfully, it doesn't intrude much, and the biggest number to come out of it ("Burn That Bridge") is one of the better, musically (though the subplot it's a part of is problematic.) I'd say they could do with about half the material they have (maybe as much time as is given to Carradine's wife, perhaps?) but hopefully preserve enough to give enough 'oomph' the final beat to that story (the monologue about the National Car Dealers Assocation of America or whatever the title was, which was a pretty great character beat for her.)

Hands on a Hardbody previews thread
Posted by Mercades 2013-02-26 21:44:46

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I feel like I am on crazy pills and am the mayor of toon town right now.

Did everyone see the same show I did? I don't think to date, I have EVER bashed a show on this board, but that was hands down the most boring, trite, piece of theater...Are you are all serious? Wow. other than Kaela's song and the "lorado" song, which were both beautiful, you could have mixed and matched them, and I would not have been able to tell the difference from one song to the next.

Trim and hour, cut the dealership scenes, make it a one act-a la "chorus line" and call it a day.

It must be me. I must be missing something. best musical? I have no words. I have tickets for all up coming shows and can't wait to see them-so we will see. I love the concept and think all the actors were convincing and committed. I just felt bad they were all working so hard with no pay off.

oh and I heard every other word Keith Carradine said. at best.

Hands on a Hardbody previews thread
Posted by notabb 2013-02-26 23:29:40

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Mercades, what's your problem? You didn't like it someone else did. Big deal , get over it. It's called different opinions. They'll tell their friends to see it and you won't. Or you can do what Aftereight does where he quotes from people who don't agree with him and then tries to show them how they're wrong point by point. It's just sad. I saw the show tonight and enjoyed it. I didn't think it was great but I didn't think it was horrible. I won't go into specifics because then Aftereight will go point by point to show me the error of my ways. Anyone notice how Aftereight gives lipservice to the idea we all have equally valid opinions but what he really means is we all have opinions it's just a shame you like garbage. Do a search of his posts and see how often he quotes from people who disagrees with him and then tries to prove them wrong. Why are people so challenged by someone loving what they hate . If that's what they enjoy and want to spend their money on more power to them.

Hands on a Hardbody previews thread
Posted by Mystic Pasta 2013-02-27 07:09:38

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This is a show about cultural populism even if we on this board make intellectual arguments based on our ability to see many musicals that generally portray hyper-articulate, fully-evolved characters. The characters in this piece do not come through Harvard like Elle Woods or live on a Sondheim stage. They are underemployed and underpaid and as a result view the world through a different lens than most of the other characters on Broadway. I was blown away by the power of creativity in staging something that I thought was going to be extremely static and boring. Sure, the show needs to be cut by 20 minutes. Sure, there are probably too many characters to equally care about. But, we don't really get to know the characters in A Chorus Line any more deeply and that is one of the best shows in terms of efficient storytelling. This will be a show with a long life beyond New York City. Perhaps, tourists will continue to prefer to spend $125 on the crowd pleasing tunes in Mamma Mia, Jersey Boys or Rock of Ages but I applaud the creative team who are working hard to support the creation of new works. This will help to keep the canon of musical theater alive.

Hands on a Hardbody previews thread
Posted by After Eight 2013-02-27 08:58:44

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"It must be me. I must be missing something."

It's not you, and you're not missing anything. You're just an astute theatregoer. I'd vote for you as mayor of BWW.

"Or you can do what Aftereight does where he quotes from people who don't agree with him and then tries to show them how they're wrong point by point. "

You're wrong. It's called discussion, the supposed purpose of a discussion board. Or does that concept elude your understanding?

And stop whining like a baby.

As for the car dealership plot, frankly, I found that a welcome relief from the stock characters bemoaning their lot in life or drearily enumerating their hopes and dreams. At least with the dealers, they're not statues stuck in the moment; they're actually engaged in living and doing. They should have expanded the dealer's interaction with the cheating contestent, because that actually provides a real-time PLOT!

Hands on a Hardbody previews thread
Posted by notabb 2013-02-27 12:03:40

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No ones whining you're just a pompous ass , , who always seems to get in name calling contests on the board. Please feel free to ignore my posts.

Hands on a Hardbody previews thread
Posted by After Eight 2013-02-27 14:25:14

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^

You can do the same regardng mine.

As for name calling, it was you who spent an entire post whining about me, instead of talking about the show that is the subject of this thread.

If you have something to say about the show, then just say it.

Hands on a Hardbody previews thread
Posted by SonofRobbieJ 2013-02-27 14:33:26

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Someday, After Eight may finally figure out that it's not the opinions. It's the person posting the opinions that's the problem.

Hands on a Hardbody previews thread
Posted by Mister Matt 2013-02-27 14:39:11

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But that would take all the fun out of After Eight's hypocrisy!

Hands on a Hardbody previews thread
Posted by SonofRobbieJ 2013-02-27 14:40:02

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It would also mean that the Hellmouth is opening and we're all totally f*cked.

Hands on a Hardbody previews thread
Posted by After Eight 2013-02-27 14:40:43

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I'm not the subject of these threads and shouldn't be made to be.

Just discuss the shows themselves and there will be no problem.

Hands on a Hardbody previews thread
Posted by DustyC 2013-02-27 14:46:07

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I am very new to this message board, and I just wish we could all just get along!

Hands on a Hardbody previews thread
Posted by newintown 2013-02-27 15:30:27

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Personally (and I'm aware that no one cares), I'd rather read After Eight's curmudgeonly critiques than five pages of offended and uninteresting bitchery about them.

Hands on a Hardbody previews thread
Posted by Matt Rogers 2013-02-27 19:51:33

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I don't understand. What was the big problem with AfterEight's review? It had some okay things to say about the show,even though it wasn't completely positive. I give those types of reviews more credence than gushing, shilly sounding raves from people who may be a cast member's boyfriend, brother, mother, or the cast members themselves. If you think people connected to shows do not post biased reviews, you are kidding yourself. And if you work in a producer's office, don't be surprised if you are asked to see the show they are producing and post positive comments on the internet. In other words, who cares if AfterEight's post is mixed. Give him a break. At least it is a real unbiased review.

Hands on a Hardbody previews thread
Posted by JoeMaMa2 2013-02-28 00:05:10

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Really liked the music and the staging ... the book might need some work. Didn't really care for the 'dealership is in trouble' subplot. But nonetheless a good show!

Hands on a Hardbody previews thread
Posted by Patash 2013-02-28 09:23:09

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Maybe someone should start a thread about Hands on a Hardbody -- so that we could actually discuss and/or learn about the show?

Oh, wait a minute. Was that the original intent of THIS thread -- hard to tell?

Hands on a Hardbody previews thread
Posted by WestVillage 2013-02-28 10:16:09

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Saw this last night, knowing next to nothing about it, so went in with a completely clean slate and very excited to see a new musical (I didn't know it was based on a documentary, so thought initially that it was completely original). Have to say I agree with Mercedes and AfterEight on this one. I was so unengaged in what was happening. I didn't care about the characters, I didn't care who won the truck. It never brought me into their world; I sat there bored and looking at my watch. It is way too long, and probably would work much better as a one-act. Way too many songs. I found myself rolling my eyes every time there was an intro for yet another song, thinking "didn't they just finish one, oh lord here we go again". I just didn't find it interesting at all. To each his own, but this was definitely not my cup of tea.

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Posted by macnyc 2013-02-28 10:30:10

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My assessment: I enjoyed Hardbody, but I would rate it overall as just so-so.

I saw the show Tuesday night and was seated in the mid mezzanine (TDF tickets). That's a good location for this show, but I find the mezz seating at the Brooks Atkinson even tighter and more uncomfortable than at other theaters. But it was fun being up there because, as other posters have said, that's where the industry folk (most likely on comps) are seated. Kate Baldwin was a few rows ahead of me, and there was a preponderance of good-looking young people throughout the mezzanine. My theater partner is an actress/singer, and she was busy at intermission catching up with various friends.

Anyway, on to the show. I was pleasantly surprised that Hardbody held my interest more than I thought it would, considering the static nature of its premise. I had no problem with the fantasy elements, during which everyone takes his or her hand off the truck. In fact, I would have liked MORE dancing and active staging. I am fine suspending my disbelief. I love shows with movement, and I wish there was more in Hardbody. However, I do feel that the choreography, however limited, did serve the storytelling. I think the audience needs to feel the stationary nature of the contest and the ennui that sets in.

And I agree with other posters that the number Joy to the Lord is a showstopper. It built up to a wonderful crescendo, with everyone pounding on the truck and making a wild percussive sound that was thrilling. However, other than this song, the music just wasn't memorable to me.

I think this will be a hard sell to a New York audience, and even considering the tourist crowd. Coming to NYC to visit, this just isn't the type of show you want to see, with its Texas theme and continual religious elements. (There was a bit too much religion for my taste.) The performances in general were excellent, including Hunter Foster, who is an able leading man yet able to take a back seat when other characters are in the spotlight.

Bottom line: I enjoyed the show, it held my interest, but I wouldn't be too happy if someone told me I had to sit through it again.

Edited to correct Hunter's name.

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Posted by round2 2013-02-28 10:36:59

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So thrilled to hear that Hunter Thompson has been revived to appear in this show!

If there's whiskey, blow, or guns involved, I especially see it being his kind of show.

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Posted by goldenboy 2013-02-28 21:33:40

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Again.. I have not seen it. I am commenting on audience appeal.
Unless this show gets rave reviews almost across the board it is in trouble.
I love musicals. I love new musicals. But the way this is described makes me feel like I'd rather do laundry. " A musical about a documentary where everyone is competing for a truck." That is a hard sell.

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Posted by perfectlymarvelous 2013-02-28 23:51:41

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I saw this tonight on a TDF ticket (which btw is getting borderline too expensive for me to afford at all) and overall was left with a sort of "meh" feeling. They're already fighting an uphill battle as far as the subject matter, and the first 30-40 minutes of the show really drag. It picks up a little towards the end of the act, but it was too little too late for me. I have patience for something to take time to develop when it feels, in the end, like it's worth the time it's taking, but for me this really doesn't.

I think one of their bigger mistakes was giving each contestant a "big number" to themselves (in some cases, the contestant got more than one). The comparisons to A Chorus Line are apt as far as basic format (and I think that show certainly is the blueprint for shows like this one and Spelling Bee, as others have mentioned), but A Chorus Line in its final version does not give every character a big "step-out" number. In spite of that, we (or at least I) feel like we get to know what we need to know about each of the characters, and there are specific choices made about which characters in that show we get to see more of, which completely works and makes what could be very tedious really exciting. Hands on a Hardbody kind of does the opposite: each character gets their big "step-out" moment (in the second act, it happens right before they take their hands off the truck, which got to be annoying for me). It feels like what the first draft of A Chorus Line was, with each character stepping out and telling their story in turn. And in spite of the fact that most of the characters in A Chorus Line don't get a whole song all to themselves, I feel I know more about those characters than I ever learned about the people in Hands on a Hardbody.

I am completely in favor of writers taking a risk on material that is non-traditional fodder for a musical, because it can give us things like Next to Normal and Grey Gardens. But it can also give us things like this. The material needed a defter hand, someone who was more willing to slice and cut and trim. This should be a one-act musical; there is no reason for it to run for 2 hours and 40 minutes, especially when you walk away feeling like you know nothing about the characters and aren't given any real reason to care about any of them. The social/political parts of the story felt heavy-handed and not very insightful to me, and they didn't really add anything or make me care any more about the characters.

The performers are good, particularly Keala Settle and Hunter Foster, who are given the most to work with. I really wish someone would write a role for Hunter Foster that is worthy of his talents, though, he was magnificent in Urinetown and while this shows off some of what he is capable of, it's still less than what he deserves to be working with as a performer.

I was pretty disappointed by this, all told. I walked in really wanting to like it and walked out not feeling much of anything at all.

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Posted by kdogg36 2013-03-01 05:48:28

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After Eight wrote:

Just discuss the shows themselves and there will be no problem.

I'm mostly an observer here, so my input might be unwelcome, but I think the reason so many people have trouble with After Eight is precisely because he doesn't merely discuss the shows, but also passes judgment on those whose opinions differ from his. He may not even realize he's doing it. Here's a case in point:

It's not you, and you're not missing anything. You're just an astute theatreoer. I'd vote for you as mayor of BWW.

This was a reply, of course, to someone who agreed with his take on Hands on a Hardbody. There is a clear suggestion here that those who really did like the show are not "astute theatregoers." This conclusion may not be entailed by After Eight's statement, but it's surely an implicature. The fact that these sorts of negative judgments are so very well masked, I'm sure, only makes them all the more annoying to their targets.

It's certainly okay to dislike shows, to argue that most modern shows are bad, and to argue that Sondheim's shows don't deserve the praise they're often given. It's more than okay; it's fun and interesting to read such debates. But it takes some of the fun out of it, I imagine, when your debate partner is subtly but continuously questioning your intellect (and maybe even your morals) for disagreeing with him.

How to enhance?
Posted by indytallguy 2013-03-01 06:24:11

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I'm wondering how it would feel to the audience if each contestant doesn't get a solo number given that this seems to be a point raised repeatedly in the comments here. Would it be weaving some of their stories into ensemble numbers like At the Ballet or Hello Twelve, Hello Thirteen, Hello Love? Reduce the # of contestants so it plays more like Spelling Bee? Approach this differently than either of these two shows' example?

It does seem like "the truck competition show" holds potentially limited marketing appeal. Since the competition is really just the vehicle for the story, I would hope they find a compelling way to market the meaning and not just the competition. The title already hints at the latter.

How to enhance?
Posted by After Eight 2013-03-01 07:56:34

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I think one problem of the show that hasn't been much addressed here is how ugly it looks. It's hard on an audience to look at the same dispiriting set for 2 1/2 hours.

The visual appeal of a show is nowadays given short shrift-- mistakenly, I would say-- and definitely to the show's detriment. Look how visually unappealing, if not offputting, recent musicals have been: Chaplin, all black and white, Scandalous, a huge, antiseptic staircase taking up the stage, Bonnie and Clyde, Leap of Faith, Catch Me If You Can, Baby, It's You. People say they snooze at Once. Well, the dark, ugly set contributes to that, to be sure. Hell, even Cinderella couldn't get it right.

As for Hardbody, one can say that that's what a Texas car dealership looks like. Well, then perhaps a more metaphorical approach to the set design could have helped.

But here's another thought. How about setting some of these musicals in attractive locales to begin with, say, perhaps, the French Riviera, King Arthur's court, or the Austrian Alps?

How to enhance?
Posted by iluvtheatertrash 2013-03-01 09:25:22

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Saw it last night and hated it. Walked in thinking I would love it, walked out wishing I hadn't wasted my evening.

Seattle and Foster are doing wonderful work. And there is obviously a lot of talent in the ensemble. But the songs are dreadful and the lyrics are even worse. Sad to think that the lyricist is the daughter of the late, great Adolph Green... "Joy of the Lord" is certainly the best number in the show. But that is only because of the staging and it's not enough to carry the rest of the score

But sadly the whole "suspend your disbelief" and go along with it thing does not work. Let's spend days trying to win a truck that we've walked all over, jumped on, sat on, scuffed up with our boots. And then when the dealership manager says "Who wants to win a truck with handprints on it?" you can't help but think about the 100+ boot-prints covering it.

Long. Dull. Disappointing. But Christ, that score is dreadful.

I really WANTED to like it. But nope.

How to enhance?
Posted by mamaleh 2013-03-01 09:27:40

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I had the opposite experience last night.

The Brooks Atkinson was packed full of cheering people who seemed to be having a great time. Not a big country music fan, I wasn't quite sure what to expect, but I found myself liking it more than I thought I would have. With about a dozen characters vying for time, character development necessarily couldn't be too deep, but I did feel I got to "know" them during the course of the evening.

Keith Carradine was quietly effective and touching as an older (to those kids, anyway) man in a relationship crisis and out of a job. Hunter Foster made an impression as a lout who undergoes something of a transformation during 3 solid days of "hands on" that red truck.

Each character has a sort of "this is me" song explaining background, why they're in the contest, or their problems. As country-ish songs go, they're not bad. The standout song performance, though, has got to be that headed by Keala Settle. If the show performs on the Tonys, her number, "Joy of the Lord," is the obvious choice. I'm not very partial to gospel music, but this number was staged so creatively--think STOMP meets LEAP OF FAITH (but in a good way)--and with such zeal that I found myself going with it. Settle deserves a Tony nomination.

In their ruminations on humanity and how tough life is, some of the characters border on cliche. But their stories are told and sung, for the most part, in an engaging way. It's not high art but worth catching, especially for Ms. Settle's standout number.

How to enhance?
Posted by Sauja 2013-03-01 09:41:48

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Lots of folks from here at the show last night, appearently. I was also there and thought it was 85% wonderful and that with a bit of tweaking could be truly spectacular. I found the score really rich and nicely varied, even if Amanda Green still isn't the greatest lyricist in the world.

But what I found more than anything was that I was just tremendously moved. The intensity of these characters' desire for something as simple as a truck is heartbreaking and beautiful. I was in tears more than once. And what's been said about Keala Settle is true. She's stunning in this show, and "Joy to the Lord" is one of the best numbers I've seen in a long, long time.

I do think Act 2 could be trimmed a touch. Hunter Foster gets maybe one more number than he needs. Although I couldn't tell how much I felt that because of the material and how much it was that he was the one actor who left me a bit cold. I'm not suggesting he's bad, but there was this feeling I got from him that he was playing a CHARACTER while everyone else was playing a person. His performance just didn't feel honest to me, not as lived in as the other folks on stage.

I'd disagree with After Eight on the set (don't worry folks, I'm responding to a single point, not turning this back into a page of criticism of people on here). I didn't find it hard to look at or dispiriting. It's very straightforward, but I found it starkly beautiful, especially under Kevin Adams' fantastic lighting. I tend to respond well to a minimal approach, though, so perhaps it's just a question of personal aesthetics. I'd agree wholeheartedly that Leap of Faith, Catch Me If You Can, and Chaplin were eyesores, but this set, in all its simplicity, seemed masterful to me.

It's a beautiful show that I found earnest and uplifting.

How to enhance?
Posted by GilmoreGirlO2 2013-03-01 12:22:14

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I, like many others, was skeptical of how this would work as a musical, but these reviews have made me extremely excited for it. Hoping that it gets great word of mouth and builds momentum (as it already seems to be doing on here) and gets some recognition from the Tony’s. Coming to NYC in July and very much hoping it will still be running.

Another reason I was unsure of the show is I generally find Amanda Green’s lyrics to be simple, typical, and obvious (sometimes distractingly so, especially when there are beautiful melodies and orchestrations that seem in such contrast with the lyrics), but, from what it sounds like, that is exactly what this show (and these characters) call for.

How to enhance?
Posted by Mister Matt 2013-03-01 13:24:08

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I'm mostly an observer here, so my input might be unwelcome, but I think the reason so many people have trouble with After Eight is precisely because he doesn't merely discuss the shows, but also passes judgment on those whose opinions differ from his. He may not even realize he's doing it.

Of course he does. It's intentional. It's not as if this were an isolated incident or just one person with some sort of grudge against After Eight. He's been called out on his ridiculous behavior numerous times by numerous people.

How to enhance?
Posted by bwaybri2 2013-03-02 12:16:13

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Saw this Thursday night - I purposely didn't read anything about it before hand -

Left at intermission - couldn't believe that this is even going to open on Broadway -there were times it felt like Midwestern community theatre at best -

I really wanted to like this but didn't - several people from front mezz followed me out at intermission by the way

How to enhance?
Posted by WiCkEDrOcKS 2013-03-02 18:26:04

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I saw the show this afternoon and was very underwhelmed. My biggest issue with the show (in a nutshell) is this: for a musical with such a unique conceit and unorthodox subject, it is incredibly banal and mundane. The music all sounds the same, the characters never really pop, and quite frankly, I just didn't find myself invested in the contest or the people involved. The one number in the show that takes a creative risk is the standout, far and away; and that is "Joy Of The Lord." I have to give Neil Pepe and Sergio Trujillo credit for keeping the action moving for the most part, even though there are hardly any set or costume changes. It's certainly got some inventively-staged moments and sequences. But on the whole, I thought the book and score were very mediocre. The opening and finale are nice, "Joy Of The Lord" is rousing, but everything else registered as pretty bland to me. If you asked me to hum you a few bars from the show, I couldn't. And I got out less than two hours ago.

The cast is pretty good, but nothing spectacular. Keala Settle certainly fares the best, but you have to wonder if it's because she's given the one moment in the show that really sticks. I was not a fan of Keith Carradine at all. He seemed to be phoning it in the entire time and none of his more emotional moments rang true for me on any level. Hunter Foster is Hunter Foster. I'm not sure why people get on Sutton's case so much for "giving the same performance in every show she's in," when her brother is ten times more guilty of doing so.

I give the creative team a lot of credit for doing something original, but I just wish the execution was more precise and original in itself. I thought the score sounded far from "fresh" or "new" for a Broadway musical. I wished they would've taken more risks, because when they did, it really payed off and worked wonderfully. Sadly, those moments are a bit too few and far between. It just didn't do it for me.

How to enhance?
Posted by dtzumbrunnen 2013-03-03 00:16:20

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Just home from tonight's performance. Picked up rush tickets this morning and was Center Mezz (ack, so tight!), but a great view for the show. I can't imagine seeing this from the Orchestra. The elevated view lets you take in all the action very well.

This was a slow start, but once they had made it to the 12 hour mark or so, I began to get into things. Keala Settle's act one number stood out as the highlight of the entire evening, and cemented her as the person I wanted to win the truck. It did feel like there could have been fewer than 10 people vying for the vehicle - it was hard to really feel for some of the first-out characters - since they didn't have time to develop, it just felt like a waste for them to be there in the end. I'd have rather seen Keala Settle or Jon Rua get another number.

Hunter Foster played smarmy jerk well, and I'll leave it at that. I enjoyed all the banter related to old Keith Carradine movies. There can only be one Highlander.

Enjoyable evening - I think the show has continued to tighten up based on previous reports. Started ~8:05 finished ~10:40 with at least 20 minutes at intermission.

How to enhance?
Posted by RippedMan 2013-03-03 02:18:25

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These types of shows are tough. It could end up like A Chorus Line and be genious, or it could up like Happiness at Lincoln Center. The one major mistake people make these day is giving every character a solo. Just look at Ghost or Addams Family.

How to enhance?
Posted by WiCkEDrOcKS 2013-03-03 10:16:06

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^ My sentiments EXACTLY. This show reminded me a lot of HAPPINESS (I actually said that in my "review" but deleted it last minute, just because it was hard to explain why.) Not in terms of plot or characters obviously, but in terms of the whole "each character, tell your story" theme and "barely skimming the surface of character development" execution. HAPPINESS was worse than HARDBODY though.

How to enhance?
Posted by dramamama611 2013-03-03 10:25:57

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The 12 hour mark? Do you mean within the contest? (or is this an expression with which I am unfamiliar?) If you do, how long does it take to get there?

How to enhance?
Posted by WiCkEDrOcKS 2013-03-03 10:47:40

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Also, not that it's means anything, but as I was leaving I heard things like "who did you want to win the truck?" "Um, I don't really know. I can't remember any of the characters." And even "that was worse than THE WEDDING SINGER." This ones definitely got an uphill climb ahead of it. Audience reaction was tepid throughout, except for a few token comped people who were way too vocal for their own good.

How to enhance?
Posted by dtzumbrunnen 2013-03-03 11:12:57

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@Dramamama - Yes, I mean 12 hours into the contest!

How to enhance?
Posted by TheresaG 2013-03-03 13:28:23

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Saw this show yesterday. Everyone I spoke with both at intermission and afterwards liked it. Huge applause all throughout the show and immediate standing O at the end.

This show hits some real social issues of the day: unemployment, lack of decent jobs, returning home after combat. And the music was so beautifully done; nice story telling in the lyrics too.

The first act moved well, the second lagged a bit, then picked up. By then I was so invested that I didn't care about the lag.

Loved it.

How to enhance?
Posted by TonyVincent 2013-03-05 08:31:27

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Was there last night. Audience ate it up. I didn't. Lot of the "jokes" fell flat to me, and some I didn't realize were jokes but people were beside themselves (over-enthusiastic comps? or was I just in a wretched mood?).

In the end, the premise felt a ton like Putnam County Spelling Bee, just not well executed. The music was catchy but disjoint. The proceedings felt extremely cliche and predicable, just like the characters. I figured out what happened to Hunter Foster's character in the first act, I guessed exaclty how the second place finisher would lose a few minutes before, and I guessed within the first 20 minutes who would win. I thought everyone else did, too, but the audience gasped at each event.

Able performances all around, just not enough to work with. I actually thought Act II progressed well given the limitations (i.e., the characters were supposed to be exhausted).

In all, I doubt this gets enough traffic to last (the title sounds like a pornography, which they allude to in the show), but the performers and the audience all seemed to leave the house pleased.

How to enhance?
Posted by themysteriousgrowl 2013-03-05 09:07:39

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It’s not quite there yet, but overall I enjoyed it and feel that, after some trimming (will that actually happen? Idk), there’s a really strong show somewhere in there. The night I was there, the audience also ate it up, and I didn’t mind the overt feel-good feel of the final number because the show spends a long time tracking you there, with stories of underdog after underdog after underdog. There’s no way they’re not going to try to lift you out of your seat at the end, and you realize that very early on.

We could certainly use less (or at least a more streamlined version) of the books scenes involving the dealership management. And TonyVincent is absolutely right that, structurally, the show very closely resembles SPELLING BEE, with its story/song-in-turn contestants, its exploitative authority figures, and even its own version of Mitch Mahoney. Now, SPELLING BEE does more with less, but HARDBODY also has twice as many characters and is more human drama than goofy comedy (though at times it is very funny).

Perhaps this is my personal bias, but by and large I enjoyed the twangy pop-country score. And while, as Whizzer pointed out earlier, not all the songs are equally memorable, they’re varied enough that the score never gets a same-ish feel, even in the yearning character ballads, of which we get several. But when the score gets peppy, it’s super-peppy, by turns sweet, angry, and exuberant.

Hunter Foster is the de facto lead, and he does admirably, but the role never catches fire. For me, the three standouts – and I mean significant, Tony-nominee-worthy standouts – were Keala Settle (old news at this point, it seems), Keith Carradine (his cumulative impact surprised me), and (especially) Dale Soules, whose character felt so authentic, she could have been wrangled up right out of Texas and shipped overnight to perform as herself.

The choreography was usually inventive, though occasionally repetitious by virtue of its own limitations (the truck can only be pushed upstage and downstage and side to side and in circles so many times), but, again, I was never bored by it. There are a few laggy sequences, mostly in the first act (the opening number, for instance, is far too long and gives us little information), but the second act moves like gangbusters (until the very end, where one particular character-tied-to-another-character moment too many threatens to capsize the momentum going into the finale).

My date described the show as “uneven.” I think he was speaking musically, but it’s a good assessment of the show on the whole. It’s uneven, but what’s there is still enjoyable and could be much stronger with discerning trims. And if they can carve that terrific show out of the current good show, I could see it becoming a surprise hit. It’s got verve, characters to root for, a lot of good, old-fashioned sentiment, and leaves you feeling fuzzy and wanting to believe in people, naïve as that may be. Now, if they can just get their marketing on track…

How to enhance?
Posted by dtzumbrunnen 2013-03-05 10:37:13

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I'd second the Dale Soules comments. My southern roots are Georgia and not Texas, but she embodied the down to earth, strong southern woman quite well. The quality of her voice was off-putting to me at first, but ultimately endearing.

How to enhance?
Posted by egghumor 2013-03-05 10:44:18

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While I haven't seen HANDS ON A HARDBODY, I have seen Dale Soules in a number of shows during the 1970's and '80s and she was always powerful and authentic. As far as I concerned, Dale Soules is one of Broadway's biggest secrets - an amazing talent!

How to enhance?
Posted by TonyVincent 2013-03-05 13:47:39

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Great review, TMG, you mentioned a lot of thoughts I had very well. I agree that Dale Soules was my favorite performer of the evening.

You see a little more potential in the show than I do, but I also feel that trimming about 20 minutes off the show, 10-15 of it having to do with the dealership managment and the other 5-10 from the religious woman and JD Drew, would be a big improvement. Not to keep comparing it to Spelling Bee, but that show told a story with 6 contestants (plus the 3 audience members) in 90 minutes. I think they could effectively flesh out the 10 contestants in 130 minutes with the intermission.

How to enhance?
Posted by jbm2 2013-03-10 00:08:12

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I am surprised how much I enjoyed this....

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Posted by WhatIWasBorn2Do 2013-03-10 01:04:26

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Caught this last week, did not enjoy it much. Was surprised to truly not like it after reading the reviews posted here. It is a good idea, but it just fell flat. I just didn't like the songs, and the book was all over the place at times. Wouldn't recommend this, but glad I got to see it. A very different kind of show, but not for me.

How to enhance?
Posted by grandpianoalex 2013-03-10 01:07:13

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Saw it tonight. Hated the result of the competition. Keala, Allison, and Jay's voices are the stars of this show.

"The Joy Of The Lord" number is SO great. If they perform on the Tonys, THAT should be the song.

How to enhance?
Posted by AntV 2013-03-12 21:07:58

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If you search this show on twitter or instagram all you mostly see are comp tickets. Kinda would make me feel like a sucker if I paid while I know so many other people were comped. A bit of a bad strategy. They should tell people they comp that when they post on social media NOT to show the comp tickets.

Though, how would one go about getting one of these seemingly common comp tickets anyhow?

How to enhance?
Posted by Roscoe 2013-03-13 10:26:28

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I'd been hoping for something novel and interesting, but well you know. Flabby barely-two-dimensional characters, lame cliche-ridden book and lyrics. One single interesting number, the Feel The Joy song or whatever it is, which really took off and lived as something interesting in ways that the rest of the proceedings never did.

The comparison with SPELLING BEE is interesting, in that SPELLING BEE took a multi-character story line and gave everyone their due -- they all got their Big Songs, and the characters came alive somehow, and that's not something I can say about HANDS ON A HARDBODY.

A shame. There's a lot of potential here for a real picture of life in the USA for the 99%, but it just goes for cheap big songs and easy tear-jerking. It goes for glitz instead of grit.

How to enhance?
Posted by Yero my Hero 2013-03-13 10:52:33

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If you search this show on twitter or instagram all you mostly see are comp tickets. Kinda would make me feel like a sucker if I paid while I know so many other people were comped. A bit of a bad strategy. They should tell people they comp that when they post on social media NOT to show the comp tickets.

Pretty much every papering service DOES tell their members that, for that very reason. People who don't listen and are caught are sometimes banned from getting tickets, at least for a little while.

Another way to get comps is to work for or be a friend of someone who works for the production, which should be no surprise. Most new productions like to paper the house with friendly faces during previews in case there are reviewers there, and because they hope that once reviews come out, they will be selling too well to offer comps. It shouldn't be a surprise that you're seeing lots of comps during previews, although people probably still shouldn't broadcast that fact.

How to enhance?
Posted by neonlightsxo 2013-03-13 12:25:40

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Such a disappointment. Wanted it to be a breakout show in the vein of Starcatcher or Once, as it's such an interesting concept, but it's just not. I would like to see what Trey Anastasio would have done with a different lyricist. Also, Neil Pepe has never directed a musical and it shows. A big problem with this show is tone. It's uneven. Also Hunter Foster's character is presented as a narrator/guide at the beginning and then we don't hear from him for half an hour.

How to enhance?
Posted by TimesSquareRegular 2013-03-14 00:06:49

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At this afternoon's performance, applause was tepid for most of the musical numbers, JOY TO THE LORD being the biggest exception.

A revised musical numbers list was slipped into the Playbill. Gone from the first act are "Brothers In The Storm" and "A Little Something Something" with a new one added ("If She Don't Sleep"). "The Tryers" has been cut from the second act.

This was a chore to sit through, despite some terrific vocal talent. I didn't give a rat's whatever about who won, and was not involved at all.

The staging was terrible. Yes, there are limits to the staging when everyone is keeping a hand on the damn truck - so they move under/over/around each other during some of the musical numbers. But then when there a duet away from the truck, it's still the same style of movement.

The score is basically bland, and the lyrics have too many false rhymes. Worst of all, there are several instances when the lyrics do not fit comfortably on the music.

The tag line on their TV commercial is "How long could YOU hang on" ......... longer than this show will last on Broadway, for sure.

How to enhance?
Posted by WiCkEDrOcKS 2013-03-14 00:18:24

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It goes for glitz instead of grit.

This. This. This. Nothing in the show felt authentic or wildly original, which the concept certainly is. The comparison to SPELLING BEE is apt in generalities only. SPELLING BEE got everything right that HANDS didn't.

How to enhance?
Posted by quizking101 2013-03-14 01:02:10

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I happened to enjoy this show very much, despite the tepid reviews.

I do recognize that the lyrics were sometimes a bit off-kilter and that some banter and dialogue can afford to be cut (looking back, I see that the comparatively large amount of attention given to Carradine's character). However, I did enjoy the score (probably one of my favorites in a good long while; I hope it gets a cast recording, and some songs such as "Joy To The Lord", "Stronger", and "Born In Laredo".

That being said, I follow the consensus that the standout performance was Keala Settle and I was heartbroken when she lost (although I had bet on Allison Case's Kelli at the top of the show). Other standouts for me were David Larsen (His delivery of "Stronger" reduced me to a hot, blubbering mess) and Jon Rua (with his character who takes charge of his ethnic identity and his response to American condescension - I have a Grandmother from Puerto Rico so I've heard stories like this before). On the whole though, there was not one bad one in the bunch.

I hope this get a decent life (at least until Tony season)...Of course, I feel this is going to be one of the shows that Matilda will steamroller over for the big catergories.

...Such good stuff. It's like the product of a threesome between A CHORUS LINE, PUTNAM COUNTY SPELLING BEE, and PUMP BOYS AND DINETTES.

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Posted by RippedMan 2013-03-14 01:08:36

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Seems silly to not make this an intermissionless show.

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Posted by HenryTDobson 2013-03-14 01:10:19

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I half wish they pulled an Edwin Drood and let the audience vote for who they wanted to be the winner. The audience would have become more invested in the characters' stories, making the show a little more interesting/exciting.

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Posted by WhatIWasBorn2Do 2013-03-14 01:19:33

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^ That would have required the character stories to be more than 1 dimensional. Every character literally had 1 purpose that was focused on. At least, thats what I took out of it...

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Posted by perfectlymarvelous 2013-03-14 02:16:15

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HenryTDobson, I was totally thinking the same thing earlier. I found the show pretty boring and it would liven it up to have a different winner every night.

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Posted by Owen22 2013-03-14 12:47:46

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Well, it was better than Kinky Boots.

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Posted by mschwager 2013-03-15 13:59:14

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I posted my review from the preview this Wednesday on my blog if anyone is interested in my thoughts. http://upstage-left.blogspot.com

obcr
Posted by denali.fire 2013-03-15 14:36:27

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Anyone know if this is getting an OBCR and if so what label?
Thanks....I am into getting OBCR's today looking for matilda also.

obcr
Posted by dramamama611 2013-03-15 14:47:36

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I'd be really suprised if they re-recorded Matilda.

obcr
Posted by doodlenyc 2013-03-15 14:47:43

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Wow...I cannot believe someone posted who wins this damn thing! And for no good reason! I read this thread for reviews, not effing spoilers!

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Posted by katie_fish 2013-03-15 15:25:42

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this is the most obnoxious message board! for all of you hating on this show, and Amanda Green's lyrics, and Doug Wright's book- when is your musical coming out? would love to see it!

this show obviously isn't a phantom, or les mis, and it doesn't try to be. that's what's great about it. it's a deeply moving story about a middle class suburban dream. and for my group of friends that went to see the show, some of who happen to be from texas, it was just that. it's authentic, it's real. it's not glitz and glamour that a lot of the high production value shows are, and it would be a farce if it was that.

i left the theatre with happy tears, and have had the songs stuck in my head, with a smile on my face, so what does that say?

i say hands on a hardbody rock on, and i hope it does really well. broadway has enough cookie cutter razzle dazzle show's out there. i commend and appreciate a different approach.

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Posted by macnyc 2013-03-15 15:45:26

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I think Hands on a Hardbody would have made an excellent Off Broadway show. If I had seen this in a small venue, I would have been delighted with it. The show doesn't really need name stars like Hunter Foster and Keith Carradine. With solid, low-profile performers and a small venue—and a smaller price tag suited to Off Broadway—I think the offbeat quality of the show would come through. The La Jolla Playhouse I imagine was a good size.

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Posted by Phillytheatreguy10 2013-03-15 15:56:10

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"At this afternoon's performance, applause was tepid for most of the musical numbers, JOY TO THE LORD being the biggest exception."

I was at the same matinee and I couldn't disagree with you more! I think the audience was on board the entire time and the response was more than "tepid", and yes "Joy..." was the standout. There's a lot of great work going on at The Brooks Atkinson. It won't be everyone's cup of tea for sure, but there is merit to the experimentation and subject matter of the show. Just because it's not wrapped in a neat little bow, doesn't mean it won't be successful- some said the same for "Starcatcher" and the debate continues about "Once" boring vs. innovative. I think, as a review suggested, it is fresh and new. The music is good, not great, but there are real moments and strong performances from the fully committed ensemble. The choreography is limited, but very innovative, and that truck almost becomes another character. It touches on many social and economic issues. For those who think Foster gives the same stock performances, see this show, it's a very different Hunter Foster up there! I found myself rooting for the characters, and it's a shame someone spoiled the ending on here. Time will tell what will become of it, but I think it has a shot at being a sleeper hit of the season. I also disagree with the mention that Foster is introduced as the narrator in the opening, he led the song much like Settle did "Joy..." nothing more. Standouts, Foster, Carradine, Settle, and Soules.

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Posted by Phillytheatreguy10 2013-03-15 15:59:29

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^^Furthermore, as soon as the lights went down the crowd was on their feet. I realize to some this has no merit anymore, but I'm from the school of thought, you don't give it unless it's truly deserved and have sat in my seat many times as others stood.

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Posted by Mister Matt 2013-03-15 16:01:31

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this is the most obnoxious message board! for all of you hating on this show, and Amanda Green's lyrics, and Doug Wright's book- when is your musical coming out? would love to see it!

So...nobody can have an opinion on a musical they've seen unless they've written one? Or are they supposed to love every musical they've seen because they haven't written one? I haven't seen it, so I don't have an opinion about this show either way, but can you tell me how I'm supposed to feel about the shows I have seen? I haven't written a musical either.

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Posted by katie_fish 2013-03-15 16:26:27

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Mister Matt, i'm referring to the people who HAVE seen it, and are picking every piece of it apart, and making their own ridiculous suggestions-- like setting it in the french riviera, or austrian alps! believe it or not that is an actual suggestion someone made on this board. this musical is based off of a REAL contest, with REAL people that took part of it- and guess what, that happened in a dusty old parking lot. the show is about depicting that truth. my guess, based off of these comments are that 99% of people on here haven't seen the hands on a hardbody documentary. to which my advice would be, watch it, educate yourself, expand your mind beyond your current understanding of 'broadway.'

the authenticity and honesty that is alive and well in this show is unlike anything that has driven up to broadway (haha yes pun intended) and i hope that it gets a chance to be enjoyed by people from all over the world who come to NYC.

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Posted by Mister Matt 2013-03-15 17:00:00

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and making their own ridiculous suggestions-- like setting it in the french riviera, or austrian alps!

I'm going out on a limb here, but I'm pretty sure they were being facetious. I think you might have been taking them too seriously and too literally. Especially those who make comments like that regarding everything they see, not just this show.

this musical is based off of a REAL contest, with REAL people that took part of it- and guess what, that happened in a dusty old parking lot. the show is about depicting that truth.

Well, it took the idea from the documentary and then wrote in fictional characters and plot into their own musical. But it doesn't mean that people have to like it or enjoy it.

my guess, based off of these comments are that 99% of people on here haven't seen the hands on a hardbody documentary. to which my advice would be, watch it, educate yourself, expand your mind beyond your current understanding of 'broadway.'

I love the movie and I'd love to see the musical (though I may end up hating it, which has nothing to do with how you feel about the show). It's not going to be everyone's cup of tea and it doesn't have to be. Honestly, the musical should not have to rely so much on the audience's prior knowledge of the film.

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Posted by dramamama611 2013-03-15 17:20:59

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Katie -- how does anyone's NOT liking it affect your enjoyment of the show? If they don't like it, SO WHAT?

But Matt is right: the IDEA came from the documentary, but that's where the "real" stops -- but even if was totally fact based, it still doesn't mean everyone is going to like it.

The point of standing o's at this point seems to be rather moot: looking at the grosses, it is HIGHLY papered and therefore hardly an unbiased audience.

I have not seen the show, so I am offering no opinions ON the show -- but getting mad at folks for not liking it is just plain silly.

You go ahead and enjoy it, but that only makes your opinion right for you.

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Posted by katie_fish 2013-03-15 17:27:14

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mister matt and dramamama, totally get and appreciate your points. wasn't trying to say people aren't entitled to opinions. just that i was shocked with the criticisms and suggestions that counter what this show is actually about. anyway, would love to hear what you guys think of the show when you see it!

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Posted by Born in a Ditch 2013-03-16 13:12:01

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I saw it last night. I didn't hate it, but I certainly didn't love it either. I thought the music was very forgettable, and some of the lyrics were laughable. The biggest problem is that the audience never really knew what they were going for. It's like everyone was kind of looking around to see what other people's reactions were. I felt I never really knew whether certain moments were supposed to be funny, sad, or otherwise. I heard a lot of laughter during parts that, to me, should have been serious. My other huge problem was the ending. As others have said here, it's very unsatisfying. The concept of the whole show is very interesting, but I can't help but think I would've enjoyed it more if it was only 90 minutes.

On the positive side: The whole cast is really dedicated to the piece and you can totally see it, but Keala Settle was the absolute standout. My eyes were drawn to her every second. She truly deserves a Tony nomination.

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Posted by WhatIWasBorn2Do 2013-03-16 13:56:25

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Keala Settle's performance is near brilliant. She does and gives SO MUCH to a part that could so easily be forgettable and unnecessary. While I was not a fan of the show, her dedication and talent is stuck in my head, and I would love to see Joy Of The Lord again.

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Posted by supportivemom 2013-03-17 14:57:13

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My son saw the show last night. He is a big fan of Phish. Anyway, he said the show started to get tired and that some of the songs were good but the rest were just ok. He was able to get free tickets from his college.

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Posted by grumpyoptimist 2013-03-17 22:50:11

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Saw it Friday, now back at home base in San Diego. Also saw it at La Jolla Playhouse in the warm up run. In La Jolla, I liked the show, didn't love it. In fact, I thought Limelight (which became Chaplin on Broadway) was much closer to being Broadway ready when I would compare my reaction to the two. I will say the creative team has brought this show a long way...much, much further than Team Chaplin did with their show.

Maybe I was in a weird mood one of the two nights, or maybe they've changed things enough that this happened, but the one character who struck me less on Broadway than in LJ was Keith Carradine's. I thought he stole the show in LJ, on Broadway I liked him but he didn't completely suck me in as before. Although I like Hunter Foster in this better than in "Little Mary Sunshine" (then again, I despised him in that and wanted to have him banned from the stage for that one) he still just does not do it for me in this production.

The rest of the show is tightened up and smoothed out a lot, choreography (such as it is) is significantly improved, and the set actually adds to the show. But I, too, feel like the undercurrent of the dealership's struggles (save the cheating storyline) could be cut and no one would miss it.

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Posted by Mercades 2013-03-18 08:58:36

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How much have they trimmed? Anyone see it this weekend and share running time please?

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Posted by denali.fire 2013-03-18 12:48:05

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Me smells another B&C

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Posted by DEClarke 2013-03-18 12:54:16

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Honestly, the musical should not have to rely so much on the audience's prior knowledge of the film.

I couldn't agree more, and it's really important in the case of this show. The original film is pretty hard to come by. Last time I chekced, if you weren't willing to drop $100+ for a DVD on eBay and you didn't have access to a VHS copy, you weren't seeing the film.

As someone who lives in Southeast Texas and attended college in Southeast-ish Texas, my college friends and I used to watch this movie often and really enjoy it. We're all interested in the musical because the concept of making a musical based on he film intrigues us. And I agree that many on the boards may have never seen it, so it's a really weak argument to say that someone needs knowledge of the film to enjoy the musical.

I'm glad to see it is generally liked by people on the board. That's great news. I hope to see the musical.

However, I have to agree with Off-Broadway sentiments. I never saw this being the splashy show that would draw crowds in NYC. With that said, I doubt it will be running the next time I visit NYC. (So, I hope it tours, so I can see it.) However, maybe this is a sign of things to come. Maybe the idea that a show must be spectacle is passing and more inventive and distinctly different theatre will return to Broadway.

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Posted by KylePKJP 2013-03-18 12:56:51

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SupportiveMom... It sounds like your son was uneducated and went in expecting a PHISH concert. Are we supposed to feel soory for him for not getting it?

The amount of b*tching about this show when many posters have admitted not to seeing it is dispicable. Even those who have seen it would have been armchair critics and highlighted stuff they did not like about it.

It wouldn't have made it from LaJolla if it wasn't good, so quit your b*tching and let a show stand for once without tearing it down.

As a thread said recently - or the gist of it was - you posters are spiteful, mean-spirited people who can't wait to tear something down.

From the number of posts you make you clearly need an outside hobby and time away from your computer. And, just to add, a few therapy sessions on how to check your bullsh*t at the door and make an attempt to be positive.

For god's sake stay away from the theatre for a while because, when it come to it, you are 100% completely full of sh*it!!!

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Posted by newintown 2013-03-18 13:06:01

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And.... scene. Curtain. Sporadic, confused applause. House lights up. Ushers clean the house. All go home.

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Posted by grumpyoptimist 2013-03-18 13:10:51

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Mercades, ran about 2:30 on Friday night.

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Posted by Mister Matt 2013-03-18 13:25:20

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KylePKJP - For someone demanding only positive responses to a show, your post is entirely negative. By your own description, you must be uneducated, spiteful, mean-spirited and clearly need an outside hobby and time away from your computer. And, just to add, a few therapy sessions on how to check your bullsh*t at the door and make an attempt to be positive.

It wouldn't have made it from LaJolla if it wasn't good, so quit your b*tching and let a show stand for once without tearing it down.

So you believe anything that transfers to Broadway has to be good? You might want to remind the producers of Glory Days. You know what it takes to get a show on Broadway? Money. That's it.

For god's sake stay away from the theatre for a while because, when it come to it, you are 100% completely full of sh*it!!!

Wow. You get really worked up when people don't say what you want, don't you?

The amount of b*tching about this show when many posters have admitted not to seeing it is dispicable.

How much was there? Who was it?

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Posted by WestVillage 2013-03-18 16:56:57

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Wow .. KylePKJP really has some anger management issues. Insulting and downright nasty.

I saw Hardbody, and with the exception of the "Joy" number, it was a bore from start to finish. That friggin' truck spinning around made me dizzy. Agree, it should have been off-bway, and a one-act 90 minute show, with half the number of songs. Two acts and two and a half hours (that felt like just as long as the competition lasted) was pretty hard to sit through. One of the dullest shows I've ever seen, and I'm not talking about lack of "glitz", I'm talking about lack of interesting characters, interesting story, interesting music. Better than Nyquil for a good snooze.

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Posted by IronMan 2013-03-18 23:57:50

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The cast was good, but despite their best efforts, this just bored me.