That basic narrative allows for a surprisingly rich character study with a lot on its mind thematically. These are people on the margins of society who are forced into desperate acts by crippling economic circumstances. They want a better life for themselves, their loved ones, and for those left behind due to discrimination, racism, war and the inequities of the capitalist system. The story has a specific American hue but it's not difficult to imagine the Australian equivalents gathered around a Ute in a large country town.
There is a ring of authenticity about the contestants who vary in age, background, and lived experiences. It comes as no surprise then that the musical is an adaptation of a documentary about the real life annual contest. But it's not just the competitors who vie for the chance to win the truck and either sell it to fund their dreams or use it to travel to better destinations; the people running the contest, the truck dealership, fall prey to similar economic realities as they cynically use the publicity to try and drive up sales. The smell of desperation lingers over the whole endeavour.
Like any good tale about ordinary people pushed into extraordinary circumstances, there is also great humour and camaraderie here amongst the inevitable conflict. It may only be a truck but the stakes are high because we understand the characters' motivations and empathise with them.
There are times this felt more like a play with songs as there are long stretches of dialogue scenes. However, the songs, when they come, are easy on the ear with an unmistakable country rock, guitar driven sound and adroit lyrics. They are well played by a nine-piece orchestra in the pit under Musical Director Shaun Davis and, on the whole, well sung though there are some weaker voices amongst the standouts. There were some sound balance and mic pickup issues on opening night but they will be quickly rectified.
Directors David Nelson & Jane Anderson smartly tackle the obvious constraint of having the majority of their cast anchored to a pickup truck - if they can't move then the truck must! What a marvellously designed and constructed truck it is by Set Designer & Builder Mal Anderson. The truck not only looks great but has some practical features including being able to be wheeled around by the cast. In a charming little touch the truck even gets a final bow.
As befitting the economic status and location, Costume Design by Colleen Johnson features a lot of denim, open flannel shirts worn over t-shirts, and sneakers, all with a real lived-in feel. Lighting Design & Operation by Peter Giles and Allison Mack effectively creates the various times of day with some pizazz added for the radio spots, dealership signage, and moments where contestants become a little delusional.
The performances are an interesting mix of understated versus large. In the latter category Breeahn Carter's Heather is a bundle of energy who becomes increasingly unhinged, high on uppers supplied by the unscrupulous organiser Mike (Ben Mullings) who picked her to win because she'd look good in the subsequent promotions. Helen Carey gets to ratchet up the southern angst, especially when her Janis works out the whole thing is rigged in It's A Fix aided by her doggedly supportive husband Don (Brad Beckett). The production takes advantage of Lukas Perez's soaring vocals in the gospel flavoured Joy of the Lord, an infectious Act One highlight that collides into another highlight that couldn't be tonally more different as Riley Merigan's returned marine Chris floors everyone with the realities of serving overseas in Stronger.
Joshua Hollander and Brittany Isaia work well together as Greg and Kelli who form a burgeoning friendship that could become much more. Amber Wilson gives Cindy Barnes somewhat of a conscience when it comes to the contest and dealing with Mike. However, Cindy's treatment of Rodrigo Goncalves De Azevedo's Jesus is an eye-opening snapshot of the fraught attitude towards immigration in the southern states even as De Azevedo replies with the plaintive Born In Laredo.
Christian Dichiera gets to play both sides of that performance divide as his Ronald first makes a strategic error involving the consumption of candy bars in a spectacular flameout before later returning to be a considerate helping hand to Perez's Norma. The central relationship, however, is between cocky former winner Benny (Phil Bedworth) and Chris McCafferty's J.D. who is beset with physical frailties but determined to win. He is too proud to accept his wife Virginia's fussing over him and Gillian Binks delivers a beautifully sung rejoinder in Alone With Me. McCafferty's acting is impressively understated and he leads what is perhaps the most thematically resonant number, Used To Be, that harkens back to simpler times. Bedworth, likewise, closes Benny's arc in style with God Answered My Prayers.
This isn't a toe-tapping, flamboyant musical in any sense. It won me over because it was a thematically rich character study with a Tony-nominated score that is well presented and performed. Well worth taking a look with performances running until 13 July at the Limelight Theatre in Wanneroo.
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