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 fully 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 Licoln 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 a 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+