The hardknock life of Americans battered down by lean financial times gets the musical treatment in the new show Hands on a Hardbody. Composed by Trey Anastasio (of Phish phame) and Amanda Green with a book by Doug Wright, Hardbody adapts its story from the 1997 documentary about 10 Texans trying to win a pickup truck. The rules of the contest are simple: whoever keeps their hands on the truck the longest wins. The musical dramatizes the endurance competition while highlighting each of the contestants’ backstories.

The no. 1 reason to see Hands on a Hardbody: “Stronger”

Following a raucous acapella slam fest on said hardbody, led by the earnest Keala Settle and company called “Joy of the Lord,” Iraq war vet Chris Alvaro (played by David Larsen) cuts through the ebullient ode with a swift, “Shut the fuck up!” Chris, who has remained mostly silent up until this point in Act I, gains everyone’s full attention with this outburst and is about to emote a lot more. He sings a power ballad called “Stronger,” which chronicles his experience in the military from enlisting, through battle, and returning home. Placed up against “Joy of the Lord,” which expresses everyone’s hefty appetite for life, “Stronger” is Chris’ confession that he no longer has any.

Rather than tell a story of a golden boy who comes undone when thrust into the horrors of war, “Stronger” paints a portrait of one who was broken before he even got there. Enlisting with the hopes that the army would fulfill its promise to make him “all that he can be,” Chris regards himself as less than a man, referring to himself as a “baby” and a “98-pound kid.” The yearning to speed up time and reach the full potential that Chris expresses is easily relatable to anyone who has ever experienced the awkwardness and misplacement of a teenager. This makes Chris’ eventual disillusionment even more shattering, that his dreams led him to an ever darker place than where he started.

In one four-and-a-half-minute song, “Stronger” addresses the issues of what it means to be “strong,” a “man,” and what it takes just to get by in this world. By the end when Larsen is belting “I don’t feel like living any longer,” the severity of Anastasio and Green’s message hits like a brick and the importance of Hardbody surfaces. This is a musical about people who have their hands planted on a truck trying to win it because they believe it is the only thing that will give their lives purpose.

For a musical that centers on downtrodden countrymen and, for the most part, portrays them with upbeat dispositions, Chris’ soliloquy is a daringly honest, pitch-black tale about a sector of Americans whose stories are often told only after it’s too late. Yet this is not a musical limited to military veterans with posttraumatic stress disorder. When the main narrative is stripped away, leaving only its cold, hard message, “Stronger” can be about anyone who has lost their way and given up the desire to find it.

***This giveaway has concluded.***

Lincoln Center Theater vets Seth Numrich and Danny Burstein are back in a revival of Clifford Odets’ drama Golden Boy. Numerich stars as Joe Bonaparte, a gifted violinist who sacrifices his music talents for stardom in the boxing ring during Depression-era America. Tony Shalhoub co-stars in the Barlett Sher-directed drama. Stage Rush is giving away a pair of tickets to two lucky readers to see the show at the Belasco Theatre.

Fill out the form below to be entered into the contest.
Only one entry per person will be counted.

The giveaway will end on Thursday, November 18. The winner will be contacted via email and must acknowledge acceptance of the tickets within 24 hours of being contacted, otherwise a new winner will be chosen. The tickets are valid for performances through December 13. The tickets are not available for resale.

What are you waiting for, Rushers? Enter to win tickets to this hot show! And don’t forget to follow Stage Rush on Facebook and Twitter!

Tickets are provided by Golden Boy.

***This giveaway has concluded***

It’s been 5 years since Amy Morton first screamed, “I’m running things now!” on Broadway in August: Osage County. Now the Tony nominee is back on the boards and mad as ever in the 50th anniversary revival of Who’s Afraid of Virginia Woolf. As if that wasn’t reason enough to see it, August playwright Tracy Letts joins her onstage as her embittered husband. Stage Rush is giving a lucky reader a pair of tickets to see these two powerhouses duke it out at the Booth Theatre.

Fill out the form below to be entered into the contest.
Only one entry per person will be counted.

The giveaway will end on Thursday, October 4. The winner will be contacted via email and must acknowledge acceptance of the tickets within 24 hours of being contacted, otherwise a new winner will be chosen. From September 27 through October 12, the tickets are valid for performances on Tuesdays at 8pm, Wednesdays at 8pm, Thursdays at 8pm, Saturdays at 2pm, and Sundays at 3pm. From October 14 through November 4, the tickets are valid for performances on Tuesdays at 7pm, Wednesdays at 2pm, Thursdays at 7pm, Saturdays at 2pm, and Sundays at 3pm. The tickets are not available for resale.

What are you waiting for, Rushers? Enter to win tickets to this hot show! And don’t forget to follow Stage Rush on Facebook and Twitter!

Tickets are provided by Who’s Afraid of Virginia Woolf.

“What was the name of that cheese that I like?” It’s the seventh voicemail Candela leaves for her MIA friend Pepa in the song “Model Behavior” in Women on the Verge of a Nervous Breakdown. While Laura Benanti was nominated for a Tony Award for her performance in the role, this line (and her rendition of the whole song) highlighted understudy Jennifer Sanchez as an unsung comedic gem at a 2011 At This Performance concert. Sanchez went on twice for the part and still beams at the memory of it, calling it “the best time” she’s ever had on stage. Having made her Broadway debut in West Side Story in 2009, she’s now appearing in Ghost the Musical as an ensemble member and Rosa Santiago, the first client of the faux psychic Oda Mae Brown. Sanchez sat down with Stage Rush to discuss playing a 64 year old, the challenges faced by an understudy, and being a single mom on Broadway.

This is your third Broadway show. What’s it like to work on Broadway? Was this always the dream?
I didn’t see a Broadway show until I was in college. I had never been to New York. The first time I acted in a show was when I was 7 years old. It was a community theater production of Annie in New Mexico. I thought that was everything. I had so much fun. I got to wear lip gloss and hairspray. I thought my life was complete. That was the start of it all.

You are playing an old widow in Ghost. How did that happen?
Well, she’s 64. Her age isn’t specified in the script, but she’s 64. When I auditioned for Rosa Santiago, I honestly thought she was 27. I thought she was young, fun, and beautiful. When I auditioned, I wore my usual outfit—these huge earrings, bangles over my tight dance top, and heels. There was nothing in the script that said she’s older and has a cane. When the producers flew the cast to London to see the show, I saw her come out and I thought, ‘Well that must just be the London version.’ [laughs] I had seen the movie, but I didn’t think it’d be the same. I thought, ‘That’s just for London.’ We came back to New York and on the first day of rehearsals, they gave me my cane. I was like, ‘Oh my gosh!’

It seems that you prefer playing a character role rather than the pretty young woman that you are.
That’s the most fun for me, when I’m lucky enough to make people laugh.

As Mrs. Santiago, you get to be a part of Oda Mae’s first big number, “Are You A Believer?” It’s a great moment in the show.
The show has these questions about life and death that are really hard. When Oda Mae bursts through the door, that’s when the audience can first breathe. It’s well timed in the show and well written.

The material of this musical is so heavy. How does it weigh on you being in it eight times a week?
It’s similar to how I felt when I was doing West Side Story, with that sad ending. You live in the moment and you experience it, but that’s really for Richard Fleeshman, Caissie Levy, and Da’Vine Joy Randolph. I don’t really have to do that or go through that every night. But with these heavy themes, you have to breathe, turn a new page, and start a new show every day. You have to start the show from that place of innocence. It’s a fresh start. You have to go back and rewind all that hurt and the pain. Erase it.

What’s it like being an ensemble member in this show?
It’s great. I love my track. I get to be in the subway scene and levitate. Before every show, the crew sprinkles the magic pixie dust on me and that enables me to fly. So now you know the trick—it’s pixie dust. I have so much fun every night.

There’s so much going on visually in this show. Do you feel you have to compete with the effects?
I think the first time a person sees the show, there’s a lot to see. But I’m always surprised at how much people do see when I talk to them after the show. I’m not worried. I think it’s a more-is-more situation. It’s a feast. I love being on stage in this show. I also love those moments that are quieter, like when Caissie is singing “With You.” That’s just her belting her heart out and leaving it there on the stage. The audience gets all of that and that’s why I think people are moved and cry every night, because the story is still there and it’s powerful.

VIDEO: Watch Jennifer Sanchez talk about feeling un-American in front of the Obamas and technical difficulties in Women on the Verge.

You were brilliant as Candela in Women on the Verge. What was it like going on in that role?
It was the best time I’ve ever had on stage. I think being an understudy is really hard. It’s challenging and there’s a lot of pressure. For me, it was specifically Candela. I loved her so much. Laura Benanti did such an amazing job fleshing out that character during the rehearsal process. Being there from day one with it, you can really understand the character. I related to her a lot! It was the best time.

Where do your comedic inspirations come from?
In that community theater production of Annie, I played Lily. That was my first comedic role and I knew then that I wanted to do comedy. I’m inspired by Madeline Kahn, Carol Burnett, and Ellen Greene. You’re never funny if you think you’re going to be funny. You have to let the pressure go; that’s what’s important to nail it. Even if something isn’t funny, I’d rather watch something that is truthful. There’s so much comedy in what’s real.

You have a young son, Jared. Is it hard to be a mom on Broadway?
The most challenging thing is the schedule. Your kids go to school during the day and you work at night. But you just have to make more with the time that you do have. You put more weight on that time; it’s more valuable. You make those your meaningful hours. What’s great about the Ghost schedule is that I have Sundays off. Saturdays he goes to his friend’s house and Sundays I have off with him. It’s a dream schedule for me. In every show I do, I wish I could have Sundays off to spend with him. It’s been really great.

Do you mind if I ask if you’re a single mom? How does being a stage actress affect that?
I am a single parent. It’s probably afforded me more New York opportunities. I’ve never been able to leave because my kid is in school and I’m not going to uproot him for these things. It forces you to be less transient, which I think so many of us gypsies are. Actors are gypsies. We hop around and go all over the country for work. It’s forced me to be more New York based. But I love New York and that’s where I want to live.

What goals do you have in your career? What side projects do you haves?
A few weeks ago, I took my vacation and I participated in the Johnny Mercer Foundation Songwriters Project. It was the best week of my life, to date. The whole week, my only responsibility was to write and create music. I think you have to follow your heart and your bliss. If you feel like you need to create something, you have to make it happen. There are a lot of pluses to being an ensemble member. If I was Elphaba in Wicked, I feel like those girls have to devote their all to that. They have to save their voice and spend so much time getting in and out of costume. I get to the theater at half-hour call. It gives me more time to write and be with my son. The stuff I’m writing is very special. I don’t have any plans to leave theater or go to LA. I love it here. I love performing. I’m going to continue to audition. We all dream about another role like Candela coming along and having the chance to go in for it. Whatever it is, I’m looking forward to it.

Have you seen Jennifer Sanchez in Ghost, Rushers? Were you one of the lucky few to catch her performance as Candela in Women in the Verge? What do you think about her story as a single mother on Broadway? Leave your thoughts in the comments below!

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For over 20 years, Blue Man Group has been the only show in New York to require the ‘You may get wet’ disclaimer. Now, theatergoers can go from blue to red as they get sprayed with blood from the undead. After two sold-out, extended runs in Los Angeles, Re-Animator the Musical is being presented at the New York Musical Theatre Festival from July 17 through July 22. Based on the H.P. Lovecraft story and 1985 camp film, the musical centers on Herbert West, a young medical student who invents a serum to reawake the dead; naturally, the potion has some unintended side effects. As the stage becomes more populated with West’s killer creations, the carnage reaches the first rows of audience members in the “splash zone.”

The actor charged with the most blood splatter is Graham Skipper, who plays West. A life-long fan of all things cult horror, Skipper feels at home with the plays aesthetics of gore and blood spatter. “When you need an extra push to get you to the end of a show, how could a geyser of red in your face not wake you up?” Skipper said of the on-stage bloodbath.

There are two concoctions used to make the blood in the show. The kind the audience gets sprayed with is a mixture of laundry detergent, baby shampoo, and food coloring, so it’s “easy to wash out,” Skipper explained. The actors get a less forgiving blend, which includes tomato juice. While harder to get out, it also “shows up really well under the stage lights,” Skipper said, who also admitted to often receiving strange looks as he makes his way home from the theater, covered in stage blood.

While the stains are merely an occupational hazard for the cast taken in stride, Skipper said no one in the audience has ever seemed to mind. However, Skipper offers a word of caution for anyone who sees the show. “If I see somebody that’s actively avoiding trying to get wet in the splash zone, of course I’m going to target you.” Skipper recalled a performance in which he locked his aim on a man who repeatedly made futile efforts to hide behind other audience members’ seats. “I got him so bloody and soaking wet,” Skipper said, chuckling. “At the end of the show, I bowed and waved to him; he only seemed a little perturbed.”

For the most part, Skipper said audiences leave Re-Animator screaming with glee. That would explain the success the show had in LA. Originally slated to run for four weeks at the Steve Allen Theatre, Re-Animator quickly found itself playing to sold-out houses of giddy, blood-soaked theatergoers. The run at the Steve Allen turned into six months, which begat a three-month run at LA’s Hayworth Theatre, which ended in June. Now, the original cast is headed to New York for NYMF and then they’re off to Scotland for the Edinburgh Fringe Festival in August.

Staying with the show since the beginning has been a no-brainer for Skipper, 29, who moved to LA from New York after landing the part of West. The actor, who attended Fordham University (Broadway actor Van Hughes, most recently seen in American Idiot, was his roommate), admits to passing on job offers while waiting for Re-Animator’s next step. “I feel very confident in Re-Animator’s success,” Skipper said. “As an actor, I have always wanted to have one performance that is my Frank ‘N’ Furter. Here I am with Herbert West. I don’t see why I would want to stop working on such a fun project. If you’re having fun, why not keep doing it?”

The blood will continue to flow through the end of August with Re-Animator’s NYMF and Edinburgh Fringe Festival runs. As for what’s next, Skipper remains hopeful for a full-blown New York production. “[Broadway and Off-Broadway runs] have definitely been talked about. Based on other shows that have played there, I think the show would work well at New World Stages. With musical theater, all roads lead to New York,” Skipper said.

For now, Skipper and the cast of Re-Animator are going to do their best at NYMF to paint New York blood red. “There’s this stigma about theater that you have to be on your best behavior. No! Throw that out the window; come and have fun!”

Will you be there for the bloodshed at NYMF, Rushers? Did you catch Re-Animator when it was in LA? What kind of a life do you think the show should have in New York? Leave your thoughts in the comments below!

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The streets are filled with shady politicians and rebel-rousing anarchists in Derek Ahonen’s new play, The Bad and the Better, which plays at the Peter Jay Sharp Theater through July 21.  In honor of the new detective noir, Stage Rush asked some of the fearless cast members about rolling with The Amoralists, admiring rebels, and shooting firearms. Here’s what they had to say!

Actor: Clyde Baldo

Has the nature of the Amoralists’ work allowed you to take more risks on stage? Moreso than your experiences with other theater companies?
I was very drawn to the reputation of the Amoralists and their gritty, risk-taking spirit. I take risks on stage in different ways. My role as Richard Zorn really doesn’t allow me to be risky. But I hope in future Amoralists productions, I get more of a chance to be out there.

How do the founding principles of The Amoralists connect with your own inclinations as an actor?
I feel like I am drawn to grittier, irreverent material— stuff that deals with messy, real humanity. I write monologues that touch on this. It feels more like real life than a Hallmark card version of it. The founding principles resonate with me. I am drawn to the very sexual, erotic stuff—material that is raw and impolite, allowing the animal to come out!

What stories of famously corrupt politicians or infamous rebels have you admired or been intrigued by, and why?
Bonnie and Clyde, The Godfather and Cool Hand Luke all interest me a bit.

What’s the most shocking thing you’ve ever seen done on stage?
I saw a murderous death scene in which a person was shot in the eye and blood was pouring out from their socket.

Which of the following best describes your relationship with firearms:
A) Bullseye!
B) On occasion, when I need to blow off some steam.
C) I bought a Groupon for an hour session at a shooting range once.
D) Never touched one before in my life.
E) I won’t even sleep in a house with a gun in it.

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Get transported into a noir-ish New York City in Derek Ahonen’s twisty new crime thriller The Bad and the Better. The Lang Brothers, whose family tree is deeply rooted in the NYPD, both investigate New York’s murky underbelly from different sides. On their respective investigations into anarchist groups and mysterious suburban murders, each uncovers corrupt secrets that will change their lives forever.

The No. 1 Reason To See The Bad and the Better: The shocking plot twists
With a crayon box full of colorful characters at his disposal (there are 26 cast members!), Daniel Aukin (Lincoln Center’s 4000 Miles) resourcefully directs the actors down a dead-man’s-curve road of a play. Ahonen’s clever writing lulls the audience into a false sense of security in Act I with cute humor and pleasantly quirky characters, only to shower you with a second act full of stray bullets. Many a season has gone by since I have witnessed a show in which its secrets and showstoppers weren’t visible a mile off. With the sharp plot curves of The Departed and the quagmire of elaborate corruption of The Dark Knight, Ahonen creates a New York at war, in which no side knows who it’s fighting for. With The Bad and the Better, being blindsided hasn’t felt this gratifying in a long time.

Photo: Monica Simoes

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The streets are filled with shady politicians and rebel-rousing anarchists in Derek Ahonen’s new play, The Bad and the Better, which begins performances at the Peter Jay Sharp Theater on June 14.  In anticipation of the new detective noir, Stage Rush asked some of the fearless cast members about rolling with The Amoralists, admiring rebels, and shooting firearms. Here’s what they had to say!

Actor: Regina Blandón

Has the nature of the Amoralists’ work allowed you to take more risks on stage? Moreso than your experiences with other theater companies?
Yes! From the beginning of the process, we’ve been given the liberty to create our character and do whatever our gut and instinct tell us to do; it feels awesome! We’re given the opportunity to experiment as much as we want, to go as far as we can go. It’s very refreshing and exciting. Being around such talented actors and production team makes me want to reach that very high bar they’ve set. It’s as simple as go big or go home; there’s no other way.

How do the founding principles of The Amoralists connect with your own inclinations as an actor?
I feel very comfortable and connected. I’m a passionate person. I love the journey of creating a character—the suffering, feeling, going the hard way. I like unexpected things and being on edge. That’s what I see here; everyone in this company is so passionate and committed with what they do. I love that! I couldn’t be happier and more honored to form part of this awesome team. I’ve learned so much personally and as an actor.

What stories of famously corrupt politicians or infamous rebels have you admired or been intrigued by, and why?
Back in Mexico, it’s quite common to hear about these stories. Huge corruption cases in the government, nepotism, big salaries, deals with the cartels, thieving ex presidents that still have power, drug lords who can pay the whole external debt and still be billionaires. What intrigues me the most is how our society looks at this and says, “Only in Mexico.” We’re not impressed by it anymore; we expect it.

What’s the most shocking thing you’ve ever seen done on stage?
That’s a  tough one. Most recently, I saw End of the Rainbow on Broadway. What Tracie Bennett does as Judy Garland on that stage is amazing! I couldn’t stop talking about her. Brilliant.

Which of the following best describes your relationship with firearms:
A) Bullseye!
B) On occasion, when I need to blow off some steam.
C) I bought a Groupon for an hour session at a shooting range once.
D) Never touched one before in my life. [“But after firing my revolver in rehearsal today, I think I've become quite a fan. I felt so powerful! I know I sound like a psycho killer."]
E) I won’t even sleep in a house with a gun in it.

Enter here to win tickets to see The Bad and the Better! Follow Stage Rush on Facebook and Twitter, and sign up for the weekly newsletter!

The streets are filled with shady politicians and rebel-rousing anarchists in Derek Ahonen’s new play, The Bad and the Better, which begins performances at the Peter Jay Sharp Theater on June 14.  In anticipation of the new detective noir, Stage Rush asked some of the fearless cast members about rolling with The Amoralists, admiring rebels, and shooting firearms. Here’s what they had to say!

Actor: Jordan Tisdale

Has the nature of the Amoralists’ work allowed you to take more risks on stage? Moreso than your experiences with other theater companies?
They have allowed me to take more risks than I have before and probably ever will. It’s all in the writing. Although we are a breed of actors who go all the way and don’t consider anything but excellence as an option, we wouldn’t be able to do that without the allowance of the writing. Tennessee Williams, Edward Albee, and Sam Shepard to name a few, do the same when they give an actor crazy and plentiful circumstances to work through. Actors love to go all the way and push the boundaries.

How do the founding principles of The Amoralists connect with your own inclinations as an actor?
We are right there with each other. I love the gritty shit. With gritty, you never know what you will find. If you really commit to the material, crazy stuff happens and moments that you never conceived could happen suddenly do.

What stories of famously corrupt politicians or infamous rebels have you admired or been intrigued by, and why?
Braveheart’s William Wallace was pretty bad ass. Nothin’ like Mel Gibson and a fucking claymore.

What’s the most shocking thing you’ve ever seen done on stage?
I’ve done some weird shit myself, so it’s hard to say. I’ve actually never been really shocked by something I saw on stage. Either I don’t see enough theater or I’m I’m fully aware the performers are acting, because I’m an actor.

Which of the following best describes your relationship with firearms:
A) Bullseye!
B.) On occasion, when I need to blow off some steam.
C) I bought a Groupon for an hour session at a shooting range once.
D) Never touched one before in my life.
E) I won’t even sleep in a house with a gun in it.

Enter here to win tickets to see The Bad and the Better! Follow Stage Rush on Facebook and Twitter, and sign up for the weekly newsletter!

***This giveaway has concluded***

Now that the Broadway season has come to a close, summer is a a time for traveling off the Great White Way and exploring some riskier theater. Stage Rush is giving readers a head start by giving away a pair of tickets to the newest production from one of the most daring theater companies around—The Amoralists. A new play by Derek Ahonen, The Bad and the Better is a detective noir set in modern day New York in which political corruption leads to a street war between anarchists and the local government. The play, directed by 4,000 Miles‘ Daniel Aukin, begins performances on June 14 at the Peter Jay Sharp Theater and runs through July 21, and Stage Rush is setting one winner up with a pair of tickets.

Answer the questions below to be entered into the contest.
Only one entry per person will be counted.

The giveaway will end on Thursday, June 14. Winner will be contacted via email and must acknowledge acceptance of the tickets within 24 hours of being contacted, otherwise a new winner will be chosen. The tickets are valid for all performances in June . The tickets are not available for resale.

What are you waiting for, Rushers? Enter to win tickets to this hot show! And don’t forget to follow Stage Rush on Facebook and Twitter, and sign up for the weekly newsletter!

Tickets are provided by The Amoralists.