Review by Carole Di Tosti
The evocative and lyrical musical Floyd Collins sports a glorious folk and bluegrass-inspired score to tell the harrowing but uplifting, true story of Kentucky cave explorer, Floyd Collins.
Sometimes it takes a few decades to tease out the greatness in a musical achievement that has humble beginnings. Such is the case with Floyd Collins. With book by Tina Landau, Adam Guettel’s music and lyrics, and additional lyrics by Tina Landau, the extraordinary musical only ran for 25 performances at Off-Broadway’s Playwrights Horizons in 1996. However, it left an indelible impression and the support to venture on a mini-US tour and international debut in London. Subsequently, the musical was revived over ten years later in both London and the regional US. Now in its fullness it premieres at Lincoln Center’s Vivian Beaumont with direction by Tina Landau, music direction by Ted Sperling and the exquisitely voiced Jeremy Jordan as the cave hunting entrepreneur who intends to make a bundle during the Kentucky Cave Wars.
The setting is the 1920s when the poverty in the Kentucky farming community has deepened. Floyd Collins and his family begin to retrofit the caves on their land and other farmers’ property (i.e. Bee Doyle) to draw tourists and make a more secure profit off the land (“The Ballad of Floyd Collins”). Using a highly stylized, minimal and suggestive set by the collective, dots, the designers employ dark movable pieces which Jordan’s Collins climbs up, over, and is suspended from by ropes, as he goes deep into the cave singing “The Call.”
Collins becomes exuberant when he identifies a grand cave from the resounding echoes of his voice that call back to him. Assured he has found his fortune, as the part owner of a spectacular tourist attraction he will create around this mammoth cavern, he melodically reaches out into the black, invisible space and his destiny. He plants his first seeds of faith crying, “Welcome to Floyd Collins’ Great Sand Cave!”
Landau has carefully structured the musical, layering symbols that gain profound meaning, as Collins’ hopeful adventure progresses into unexpected cataclysm. Distracted by enthusiasm about his find, though he’s an experienced spelunker, Collins errs during his exertions. He loosens debris and destabilizes rocks, perhaps unmoved for centuries. His foot becomes wedged in by a huge boulder. Then, his legs and torso become covered by falling rocks and debris. The more he attempts to extricate himself, the more he imprisons himself, dislocating his dream from reality. It is a dark and tragic irony that his intended glory does not unfold as he expects it to, and as fate and God’s will would have it.
Through descriptive narration Landau’s various songs, some more like operatic recitative than typical musical numbers, unfold Collins’ story with salient and ironic details. The action above ground serves as a counterpoint to Collins’ entrapment as we watch the community’s rescue attempts. There is the panic and flurry of activity above ground when the news of Collins’ entrapment spreads far and wide.
Meanwhile, Jordan’s Collins remains stationary downstage right, trapped in the cave’s black silence, broken only when he prays, speaks to God, sings and when two individuals attempt to help him break free. His brother, Homer (an urgent, impassioned Jason Gotay), and courageous reporter, Skeets Miller (the exceptional Taylor Trensch), are the only ones slim and small enough to squeeze into the small space near Collins. Later, in a lovely dream sequence when hope despairs, Nellie (singer-songwriter Lizzy McAlpine), Floyd’s beloved sister, joins him. Then, Floyd moves freely, while Homer and the company perform the uplifting, flowing, exquisitely staged number, “The Dream.”
Forbidden to try to help in the rescue efforts, Nellie condemns the men for not volunteering to save Floyd when she is willing to try. Her father, Lee Collins (the forceful, conflicted Marc Kudisch), reminds her that she just returned from the asylum and her condition constrains her from helping her brother. Though we don’t understand her condition, the spiritual connection between Floyd and Nellie captivates in their songs about each other (“Through the Mountain”). Her stepmother Miss Jane (Jessica Molaskey) comforts her about Floyd (“Lucky”), but is concerned.
However, the most intriguing and powerful relationships are the ones drawn between Homer and Floyd, and Floyd and Skeets, who vows to stay with Floyd until he is rescued. Skeets squeezes himself nearest to Floyd and stays on top of him as he attempts to move the boulder with tools. Also, he provides other help as he interviews Floyd and reports on the amazing story, creating empathy, pathos and heartbreak. Trensch’s astounding portrayal reveals the exceptionalism of the intrepid cub reporter, who risked his own life, provided comfort, and created a firestorm of publicity that memorialized Floyd Collins’ story as a piece of Americana that Landau and her team celebrate in this marvelous production.
On the one hand, publicity is important because it brings engineer H.T. Carmichael (the excellent Sean Allan Krill), to the scene. Initially, he tries to help with heavy equipment which doesn’t work. His presence increases the conflict as there is disagreement on how to proceed.
On the other hand, the publicity brings thousands of “tourists.” They create a media circus above ground, and in “The Carnival,” we note how they enjoy the macabre situation as entertainment. Colorful balloons festoon the land above the cave, as vendors hawk food and trinkets, while Collins sings from below. The scene is superbly, sardonically wrought thanks to Scott Zielinski’s lighting, Dan Moses Schreier’s sound and Ruey Horng Sun’s projections. Collins’ prophesied tourists have shown up, but he misses the show he would have absolutely loved seeing. Of course, the irony that the exploiters and gawkers “dance on Floyd Collins’ grave,” is not lost on the audience. And an ashamed Skeets Miller asks in a preface to the scene, “What have I put in motion?”
As other events intensify the rescue attempts, the pressure of the activity above ground and the rainfall creates another devastating condition with the boulders. How the design team and Landau’s direction effect this, is superbly stylized, as is the uplifting dream sequence.
Jordan’s Collins provides his concluding reflections in “How Glory Goes.” It’s a stunning piece of music and Jordan sings it with a haunting, soulful flourish that illuminates and seals the history of Floyd Collins and his devastating journey to fame.
Floyd Collins is 2 hours 30 minutes with one intermission at the Vivian Beaumont Theater until June 22. Don’t miss it. https://floydcollinsbroadway.com/
Photos: Joan Marcus