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
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