OBCR Review: Floyd Collins

I've been a fan of Adam Guettel's score of Floyd Collins ever since a friend gave me the off-Broadway cast recording years ago. I found it so intriguing that at the time I did a deep dive into the history of the events of Floyd's entrapment in the Great Sand Cave, and I found the score so enthralling that I nearly wore out that CD. Of course, I never did see that original production - it wasn't around nearly as long as it deserved to be - and so I spent each listen imagining how it must have looked and how I might have staged it.

Needless to say, the minute a Broadway revival was announced, including some updates and revisions to the score, book and staging (the latter two by Tina Landau), I couldn't wait to get tickets and finally see it. I was not disappointed. (My review of that production is HERE.)

Original Broadway Cast Recording:

Floyd Collins (2025)

Label: Center Stage Records

Number: CSR-CD32525

Packaging: Bi-fold cardstock; single disc

Booklet: 34 pages, full color; includes full credits, liner notes and complete lyrics; 14 full-color production stills. A QR code is included for further details about the production and the history of Floyd Collins.

The Packaging and Booklet: 

Old school though it may be, I am so glad it was released on CD. I'm all for reducing waste, with the cardstock packaging instead of the plastic jewel case. In fact I prefer it - it takes up a lot less space. And the booklet is everything you could ask for, with full production credits (including the list of orchestra members - stars in their own right), brief (but useful) production notes, as well as a nifty QR code which takes you to even more information. I also love having the full lyrics - not because they are hard to understand when you are listening (plus I have it pretty much memorized!), but because it is nice to remember which characters sang which lines. But my favorite part of the booklet is the inclusion of over a dozen full-color, crystal clear production photos.

The Orchestra:

In the theater, the Lincoln Center Orchestra sounded glorious, and here they sound just as amazing, maybe even a little better. The sound on this recording is so pristine, that each individual instrument can be heard distinctly. It is especially appropos when the music calls for loneliness, a solitude for the man trapped in the cave, but also for those quiet moments of introspection for the characters above ground. And when called for - those moments of triumph and brief moments of hope, the full orchestral sound is so lush and full-bodied, it gave me chills. Under the perfection of Ted Sperling's accomplished baton, the 14 piece ensemble does full justice to Guettel's score and Bruce Coughlin's evocative orchestrations. This is a beautiful rendering from first note to last. 

The Performances:

The entire company sounds terrific in each number; when they sing together it sounds glorious. But the real treat of this recording is in the details. Each actor brings a full characterization to snippets of spoken dialog as well as in their singing.  Devoid of any modern pop stylings, the listener is treated to a score that is as wonderfully acted as it is sung. I especially enjoyed the folksy yet urgent vocals of the townsmen in "'Tween a Rock" as sung by Wade McCollum, Cole Vaughan and Clyde Voce, and the juxtaposition of the contrasting more urbane style of Dwayne Cooper, Jeremy Davis and Charlie Franklin as the Reporters in "Is That Remarkable?"

The soloists, here, as in the theater, are top-notch. As Floyd's family and neighbor, both Marc Kudisch and Jessica Molaskey bring such raw emotion to their songs it is impossible not to be moved. And there aren't enough words to describe the beauty of Lizzy McAlpine's debut turn as Floyd's sister, Nellie. I get emotional at just the thought of her number, "Through the Mountains."  If all you had to go by is Taylor Trensch's solo number, "I Landed on Him," you'd fully appreciate his much-deserved Tony nomination. What a singular performance! And you'd be as mystified as I was that Jason Gotay wasn't Tony-nominated. His charm, warmth and massive sense of regret comes shining through in every song he sings, particularly in his Act One closing duet, "The Riddle," when he and his brother tell each other puzzles to pass the time and to keep their spirits up.

I don't think Jeremy Jordan has ever sounded better than he does here. It's like the role was written for his voice, and the spirit of Floyd Collins himself has taken over his body. From those powerful yodels to the soaring heights of his final number, "How Glory Goes," Jordan goes way beyond his comfortable "leading man" wheelhouse, and gives the performance of his career to date. That he achieves such depth of character while singing his guts out is a truly remarkable thing.

I can't recommend this recording highly enough. Whether you saw the show or not, if you enjoy musical theater that is both engaging and challenging, this is one to add to your collection for sure.

Grade: A+ 

 

Review: Floyd Collins

Review of the Saturday, April 26, 2025 matinee performance at the Vivian Beaumont Theater at Lincoln Center in New York City. Starring Jeremy Jordan, with Jason Gotay, Sean Allan Krill, Kevin Bernard, Lizzie McAlpine, Wade McCollum, Jessica Molaskey, Taylor Trensch, Cole Vaughan and Clyde Voce. Book by Tina Landau. Music and Lyrics by Adam Guettel. Additional lyrics by Tina Landau. Orchestrations by Bruce Coughlin. Sets by dots. Projections by Ruey Horng Sun. Costumes by Anita Yavich. Lighting by Scott Zielinski. Sound by Dan Moses Schreier. Musical direction by Ted Sperling. Dance sequences by Jon Rua. Direction by Tina Landau. 2 hours 35 minutes including one intermission.

It was with the off-Broadway cast recording of Floyd Collins that I found out (contrary to popular belief) you can, in fact, wear out a compact disc. That is how much I adore Adam Guettel's complex and sonically brilliant score. And, as rendered in Lincoln Center's equally brilliant revival, the score is as ravishing as ever as played (under musical director Ted Sperling's storied baton) and sung. This show has been on my radar for the entirety of the three decades since its premiere. More often than not, when I build up a show in my mind like this one, I'm ultimately disappointed. Happily, that is not the case here; it exceeded my every expectation. 

Though Guettel and Tina Landau's score and book has had some tweaking done to it, the show is largely intact from its last major New York production. If I have any quibble whatsoever about this revival, it's that some of the repetitive events could stand some condensing. But, overall that's a minor quibble, and I'd be loathe to pick out any specific things I would trim. Landau's direction is tight, and surprisingly varied considering the length and number of times the story visits a confined Floyd Collins. It is also striking that the varied points of view surrounding this tragic moment in history are given pretty equal time to breathe and evolve. The result is a story that honors the complexities of humanity - there are imperfect and ever-changing heroes and villains here.

Short of a claustrophobic black box theater, where we might feel as if we were trapped in a cave with Floyd, I can't think of a better space for this show than with the mostly bare, dark stage at the cavernous Vivian Beaumont. Rather than go with the literal, the design team uses that space to create scale - no matter your vantage point, Collins looks small against a world so large against him. That's not to say that dots. scenic design is lacking. Large and small set pieces emerge from the ceiling and the floor as needed, and again hint at the scale of things. In combination with Scott Zielinski's focused, moody lighting, Ruey Horng Sun's stage-spanning projections, and Dan Moses Schreier's vivid and atmospheric sound design (the echoing and landslide effects are especially well-rendered) the entire physical production is both expansive and intimate. Anita Yavich's costumes wordlessly add to the sense of time, social standing and characters and a great deal to the production's overall aesthetic.

With a company of actors this outstanding, it is not surprising just how beautifully performed this piece really is. From top to bottom, they are all aces at the top of their game, including understudy Kevin Bernard, on for Marc Kudisch, as the father of Floyd Collins, a role that requires a wide range of emotion as the man clings to anything that will abate his desperation and pain. His is an accomplished performance. The story demands a relatively large group of supporting characters, each given a moments to shine, and all evolve in fully fleshed out performances. Among them are Cole Vaughn as Jewell, a quirky young local, and Wade McCollum as Bee and Clyde Voce as Ed, all three friends of the Collins family. The trio is frequently called upon to provide the local point of view on the situation as well as "insider" tidbits between the various factions at play. Jessica Molaskey makes a welcome return to the Broadway stage as Miss Jane, a widow herself, who serves as a friend, confidante and pillar of strength for the family in place of the deceased Mrs. Collins. As one might expect after years of brilliant turns by Sean Allan Krill, he does marvelous work here as the big company man who comes into save the day with massive resources at his disposal. It is particularly interesting to watch and feel a roller coaster of emotions about this character as Krill navigates a minefield of contradictions and problems; he's at times a savior, a tough decision-maker, an ego maniac, a sincere man desperate to help, and a power-hungry tyrant who seems to want his role in this event to parlay into big personal gains.

After decades of theater-going, I can honestly say that three things bring me some of the greatest joy: discovering new talent, watching that new talent blossom into new heights of accomplishment, and seeing someone I've long admired reach a career pinnacle. Floyd Collins has afforded me all three of these pleasures. Forget that she's most famous as a You Tube personality, Lizzie McAlpine is the real deal, giving a polished, endearing performance as Floyd's sister Nellie. She has a stunning, clear voice and a presence to match; she's so captivating, it is hard to keep your eyes off of her. This, I hope, will be just the first in a long line of stage triumphs for her. 

Then there's Taylor Trensch and Jason Gotay, who were both (a few years ago) where Ms. McAlpine is today. Both of these young men are giving the best performances of their careers to date. Trensch is simply brilliant as the young reporter who inadvertently causes the media circus surrounding this disaster. It is, as they say in the show, "remarkable" to watch him begin as a spunky go-getter reporter and then see him horrified at what his actions caused. He is particularly poignant in those moments where he takes it up on himself to try to right his wrongs and befriend Floyd in the process. Gotay is really a revelation here as Homer, Floyd's devoted brother. He is heroic at every turn - you'd want him on your side in a crisis - and watching this youthful actor convey the inner turmoil of this young man, who begins to feel the pull of fame and fortune and all of the pitfalls and betrayals that might encompass, is truly gratifying. Both of them confirm my long ago impressions of them: they are going places!

Finally, after years of watching Jeremy Jordan grow in a variety of leading roles on Broadway, he has hit the first of many peaks in what I believe will be a storied career. He is utterly captivating in this mammoth title role - equally amazing in the physical and emotional demands of the role. That he can sing was never a doubt, but here, his voice is really a triumph. He opens the show with a magnificent performance of "The Call," a number that requires both pyrotechnic vocals (those yodels gave me chills) and extraordinary physicality. In a word: amazing. I dare say his performance of the show's most famous song, "How Glory Goes," is definitive, and ends the show on a thrilling if tragic note. Bravo, Mr. Jordan, bravo.

And really, bravo to all involved. This challenging piece has finally - I hope - come into its rightful place in the pantheon of great modern American musicals. This is not to be missed.

 

📸: J. Marcus

2024 - 2025 Broadway Musical Logos: Floyd Collins

2024 - 2025 Broadway Musical Logos:

Floyd Collins

I don't suppose it's fair to judge a show's key art for what it isn't, but when a show opens at Lincoln Center, I always hope that the great James McMullan will be doing the logo. Unfortunately, that is not the case with the revival of Floyd Collins, which opens tonight at the Vivian Beaumont.

Given the subject matter - the 1925 media bonanza surrounding the attempt to rescue cave explorer Floyd Collins who was trapped in the Sand Cave in Kentucky - the logo serves the needs of the production well enough. The color pallet does a good bit of the work here. The murky black surrounds the imagery, with a central bright white/yellow light at the center which darkens to an other-worldly glow. A beacon of light so to speak in a world of darkness. Here, it also calls to mind a literal spotlight.

The title in a simple font is reminiscent of the lettering used in turn-of-the century (20th) newspapers, large and eye-catching. In a vibrant orange and backed with a shadow-effect which further makes the title pop. The rest of the image tells the rest of the story: a simple man in overalls, sleeves rolled up - he's a working man, and like any spelunker with his salt, he's equipped with a bright lantern, held up in an aspect of vigilant exploration. That lamp, held up illuminates his way, and he looks up at what he can now see. He is making a significant self-discovery. Floyd Collins is finally seeing himself; here it is literally the title, in the show, it is a thematic revelation.

Simplicity can sometimes reveal a lot. 

Grade: B+

Friday 5: 5 Broadway Boys For Spring 2025

Back in the day, we used to celebrate Broadway beefcake with "Broadway Heat" competitions. The good news was, without fail, every "winner" and "runner-up" was a lot more that just eye candy. Today, we sorta keep that tradition going with occasional "Stars-To-Be." This week's Friday 5 is a bit of a hybrid: these guys are all good looking, but we strongly suspect that they are going to be big names on the Great Bright Way. Mark our words!

5 Broadway Boys For Spring 2025

Jacob Dickey (Stephen Sondheim's Old Friends as Performer)

Of the 5, he has the most Broadway experience. This spring he is part of the big name ensemble for this tribute to the Master. It'll be great to see him in the spotlight.

Broadway Credits include:

• Aladdin as Aladdin
• Company as a New Yorker and understudy

National Tour Credits include:

• Company as Andy
• Aladdin as Aladdin

McGee Maddox (Smash - Ensemble)

This Canadian makes his Broadway debut here. He comes with a host of skills and credits, including as an accomplished ballet dancer and regional theater actor. Plus, I love his name!

National Tour Credits include:

• Cats as The Rum Tum Tugger
• An American in Paris as Jerry Mulligan

Zachary Noah Piser (Redwood as Spencer and others)

This guy has been the "one that got away" for me. Missed him in Dear Evan Hansen and Wicked, and he was out the day we saw KPOP. I've heard nothing but good things about his performances. Here's hoping he's there when we visit the Nederlander next month!

Broadway Credits include:

• Dear Evan Hansen as Evan Hansen
• Wicked as Boq

Colin Trudell (Floyd Collins as Ensemble)

Here's our second Broadway debutante, though we are happily able to testify to this young man's talent with first hand knowledge. He really bowled us over as the warmhearted Emmet Otter off-Broadway. And now he's coming to Broadway in a Lincoln Center production, no less. He's definitely on the way up!

Off-Broadway Credit:

• Jim Henson's Emmet Otter's Jug-Band Christmas as Emmet Otter

Wesley Wray (Buena Vista Social Club as Young Ibrahim)

Another of our Broadway newcomers, the young man is still in college - University of Michigan - going for his BFA in Musical Theater. He's also trained at the Alvin Ailey School and the Royal Academy of Dramatic Arts. With an already packed resume, he is ready to take Broadway by storm, and we are here for it.

At the Royal Academy of Dramatic Arts:

• As You Like It as Amiens and Silvius (also music composer)

At University of Michigan:

• Guys and Dolls as Harry the Horse
• A Chorus Line as Mike Acosta
• Shaina Taub's Twelfth Night as Duke Orsino

BONUS: Diego Andres Rodriguez (Sunset Blvd. as Artie)

Because we've already seen him once this season, we can verify he's got the goods! Making his debut as Joe Gillis' best friend and making a meal out of that snack of a role. He also goes on for Tom Francis as Joe Gillis on occasion. And, following his run in Sunset, he has already got his next gig lined up!

Broadway Credit:

• Sunset Boulevard as Artie/Ensemble, Joe Gillis understudy

Upcoming National Tour:

• The Great Gatsby as Nick Carraway

Looking Forward to Spring: March - May 2025

Winter is starting to wind down, and spring will be here in full bloom before we know it! And as always, the Broadway theater scene is starting to heat up, too. We have more shows that we want to see than we have time or money for. (Like many of you, we bet!) 

As is tradition, before we look ahead we look back at what we've seen and how much we enjoyed ourselves. Over the past three months, we saw six shows: two we absolutely loved, Maybe Happy Ending (our second visit) and the amazing revival of Gypsy, three we had a great time at, a regional production of A Funny Thing Happened on the Way to the Forum, the hilarious Death Becomes Her, and the exciting Romeo + Juliet, and one show we were split on, Urinetown. What with great a new, original musical, riveting revivals and star turns in each show, this winter was pretty terrific. Here's hoping the spring is just as wonderful!

Looking Forward to Spring:

March - May 2025

Re-visit:

Sunset Boulevard (Broadway - St. James Theatre)

Up first is a second visit to this thrilling revival for me (a return, if you will), and a first time for Mike. I told him, whether he ends up liking it or not, the production is one that needs to be seen to believe.

Have the Tickets Already:

Dead Outlaw (Broadway - Longacre Theatre)

This one intrigues me as a show that is right in my sweet zone: it is boundary pushing, an unlikely subject, and a creative team I have high expectations for. Then there's the cast, headed by one of my favorite current generation actors, Andrew Durand. I hear he's pretty amazing, even when he's just standing there.

Floyd Collins (Broadway - Vivian Beaumont Theater at Lincoln Center)

This may be the show I am most looking forward to. I've never seen it, but I adore the original cast recording; I've memorized each word, echo and yodel! Imagining what happens and how it'll look has taken up a lot of space in my theater-loving brain. And now, to see it with this amazing cast (Jeremy Jordan, Jessica Molaskey, Sean Allan Krill and Taylor Trensch, et al.) should be very, very satisfying.

Stephen Sondheim's Old Friends (Broadway - Samuel Friedman Theatre)

Any chance to see master performers performing the works of the master is an opportunity I just can't miss. Of course, I'm looking forward to seeing Bernadette Peters, Lea Salonga and Beth Leavel, but I'm really excited to see some West End stars like Bonnie Langford and Joanna Riding, too. Then there's the gentlemen to be just as excited to see - Gavin Lee, Kyle Selig and Jacob Dickey. This one should be a great evening on Broadway.

Redwood (Broadway - Nederlander Theatre)

The cavalcade of divas continues with the always magnetic Idina Menzel and a giant tree holding court at the Nederlander. Her supporting cast is pretty dazzling, too. Looking forward to seeing Zachary Noah Piser, who I missed in KPOP. I really don't know much about this one, so I'm hoping to discover a new show with no pre-conceived notions! 

Hope to See Before the Tony Awards:

Boop! (Broadway - Broadhurst Theatre)

I don't know that much about the details of the Betty Boop comics, probably as much as I knew about Annie before her musical came out! But I do love a splashy, old fashioned musical comedy - especially when it is directed and choreographed by Jerry Mitchell, co-stars the always fabulous Faith Prince, and features a potentially star-in-the-making debut performance from Jasmine Amy Rogers.

Buena Vista Social Club (Broadway - Schoenfeld Theatre)

As Mike pointed out, we have a great track record with shows based on music albums (American Idiot, Jagged Little Pill, etc.), so why not take a chance on this one? Cuban beats and electrifying dancing sound like a great combination to take the chill of this pretty cold winter.

Operation Mincemeat (Broadway - Golden Theatre)

The very mixed reviews of first audiences aside, I want to see this. I love all things Britain, and a great true WWII story is always a passion for me. I'll admit I'm not as excited about this as I once was, but it is bound to be an awards contender, so I'll need to get to the Golden.

Smash (Broadway - Imperial Theatre)

Faults, plot holes and inaccuracies and all, we enjoyed every minute of the TV series, so our hopes are pretty high for this one. If the stage version is as sharp and witty as the advertising, it should be fantastic. Susan Stroman is due for a big hit, and she is a master at the extravaganza. Add to that a score by Shaiman and Wittman and a cast chock full of Broadway greats, and it seems like a no-brainer. We will let her be a star if we can snag some reasonably priced seats!

See you at the show!

 

Friday 5: 5 Broadway Returns

As Norma Desmond says, "It's a return." So far in 2025, here are five Broadway folk who are not making a comeback that we can't wait to see again!

Friday 5: 5 2025 Broadway Returns

Nicholas Barasch - Frederic in Pirates!

We last saw him in: She Loves Me as Arpad (2016)

Nine years is a long time between shows!! We've been fans ever since his debut in the 2009 revival of West Side Story, when a a small boy, he sweetly sang "Somewhere." Since then, we have seen every show he's been in on Broadway, and we have no doubt that he'll be as great as always.

Erich Bergen - Raymond in Boop!

We last saw him in: actually, I've never seen him perform before!

So why am I looking forward to seeing him? Well, I've had my eye on his growing career and have followed him on social media for some time. He's done Broadway before (twice in Waitress) and a few National Tours. Along the way, he's done a fair amount of high profile television work (Madame Secretary) and film (Jersey Boys), but now he's back. It's his time!! 

Megan Hilty - Madeline Ashton in Death Becomes Her

We last saw her in: Noises Off! (2016)

You never forget your first Glinda, and she was mine. It was her Broadway debut, and I've been smitten ever since. I've had the privilege of seeing her in every Broadway show she's been in since (I especially loved her in 9 to 5.), and can't wait to see her in her latest star turn!

Lesli Margherita - Tessie Tura in Gypsy

We last saw her in: Emojiland (2020)

She's constantly over-the-top in all the best ways, and always makes us smile. Chewing the scenery as Mrs. Wormwood in Matilda was the last time we caught her on Broadway back in 2013, and now a dozen years later, we can't wait to see her be a demur-a stripper in Gypsy.

Jessica Molaskey - Miss Jane in Floyd Collins

We saw her last in: Sunday in the Park with George (2008)

It has been some time since she's trod the Broadway boards, and she has quite a following. To be completely transparent, I don't really remember her in Sunday, some 17 years ago, so I am looking forward to reacquainting myself with her talents this spring.

What Broadway return are you most looking forward to this year? Let us know!

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