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Epoch Times
15-05-2025
- Entertainment
- Epoch Times
‘Floyd Collins': A Musical About a Dreamer
NEW YORK—Floyd Collins (Jeremy Jordan) may have been a dirt farmer, loving brother, and enthusiastic spelunker, but as the Broadway musical which bears his name makes clear, he was first and foremost, a dreamer. Firmly believing he possessed a special kind of luck, he was determined to make an important discovery. Making its Broadway debut more than 30 years after its initial premiere, 'Floyd Collins' is told from perspectives both above and below the Earth's surface. It was Collins's dream that caused him to undertake a solo underground expedition in 1925, not far from his family's Kentucky farm, to find a cave formation he was certain existed there. Find it he does, but after getting caught in a rock slide, his foot became trapped, and he was unable to free himself. For the next 14 days, as word spread and the media got wind of the story, his name became a cause célèbre as a carnival-like atmosphere sprung up aboveground, with music, food, balloons and souvenirs stands while Floyd waited below for rescue. Fun times aboveground while Floyd remains trapped underground, in "Floyd Collins." Joan Marcus 'Floyd Collins' is a story of the human condition and what drives people to act in ways others might look at with disbelief. For Floyd, it is the need to find something better, the land above no longer able to support him or his kin, so he goes looking for what he hopes will become a tourist attraction and an income stream. This premise also holds true when factoring in his family and friends. When Floyd's brother Homer (Colin Trudell, substituting for Jason Gotay) takes his father (Marc Kudisch) to task for selling photos of Floyd when they have no idea if he will be pulled out alive, the elder Collins reacts angrily, saying he is doing what he has to in order to put food on the table and feed his family, a family that includes Homer. Homer also has no reason to complain as he is considering an offer to appear in films or go on the vaudeville stage and tell Floyd's story. The tale takes a few swipes at those trying to capitalize on Floyd's predicament—as seen in the song 'Is That Remarkable.' In it, members of the press gleefully embellish the facts for the sake of a headline. Yet no one else is never depicted in a cynical way. In fact, two of the characters who change the most are Skeets Miller (Taylor Trensch), a young reporter sent out to find if there is even a story to be told, and H.T. Carmichael (Sean Allan Krill), a mining engineer in charge of the recuse operation. He clashes with Homer over the proper way to do things. Each arrives with their own agenda, but by the end both are determined to get Floyd to safety, regardless of the obstacles. The only person truly without any ulterior motive is Floyd's sister Nellie (Lizzy McAlpine), the person he is closest to in the world. Production Highlights A key part of the production are the efforts by lighting designer Scott Zielinksi, dots in creating the set design, and sound designer Dan Moses Schreier, who created the space where the increasingly disheveled Floyd is trapped. They imbue it with a claustrophobic feeling as he waits, barely able to move, even as others get close enough to speak to him. Related Stories 8/28/2024 4/24/2025 Also important is Tina Landau's sharp direction, which continually builds the tension—both above and below—and allows the audience to wonder if each attempt to free Floyd will be the one to succeed. Jordan is excellent in the title role, a man who has long believed he has a charmed life and is initially sure everything will turn out all right. Especially impressive is how Landau's libretto allows Floyd to mentally leave his confinement and interact with other members of the cast, as seen in the wistful number 'The Dream.' Other standouts include Trensch as Skeets, who gets too close to the story he is covering; Trudell, as the brother who refuses to give up hope; and Kudisch and Jessica Molaskey as Floyd's father and stepmother. The elder Collinses, each carrying the weight of a life hard lived, share a bond forged by grief, understanding, and companionship. The score by Adam Guettel, with additional lyrics by Landau, while not something you'll come out of the theater humming, is quite powerful. Jordan's first solo number, the enthusiastic 'The Call,' introduces the audience to who Floyd Collins is and what drives him, while his final song, the somber 'How Glory Goes,' allows him to come to terms with what has happened. The anger fueled 'Get Comfortable' crystalizes Homer's frustration on finding himself on the sidelines of the rescue efforts, while the ditty 'The Riddle Song' captures Homer and Floyd's efforts to keep their respective spirits up as they wait underground together, partially separated by a wall of rock. A story that makes you desperately care about those it portrays, 'Floyd Collins' presents a riveting tale of dreamers, realists, and those caught in between. Nellie (Lizzie McAlpine) is hugged by brother Floyd (Jeremy Jordan), in "Floyd Collins." Joan Marcus 'Floyd Collins' Lincoln Center Theater at the Vivian Beaumont 150 W. 65th St., New York City Tickets: Running Time: 2 hours, 30 minutes (and one intermission) Open run What arts and culture topics would you like us to cover? Please email ideas or feedback to
Epoch Times
15-05-2025
- Entertainment
- Epoch Times
‘Floyd Collins' and ‘Ace in the Hole': Two Carnivals of Tragedy
In 1925, an adventurous cave explorer named Floyd Collins was trapped in Sand Cave, Kentucky (now known as Mammoth Cave), capturing the attention of the entire world and sparking the first media circus. Although he was found dead after 17 days trapped below ground, his story didn't end there. Over 20 years later, this incident inspired Billy Wilder's 1951 movie 'Ace in the Hole,' the tale of a newspaperman who keeps a man trapped in a cave for days, inciting a spectator carnival and buying off local law enforcement, just for the story. In 1996, the tale of Floyd Collins was unearthed once more in the form of an off-Broadway musical by Adam Guettel and Tina Landau. This theatrical venture didn't last much longer than Floyd's last adventure, closing after only 25 performances. However, at the tragedy's centennial, 'Floyd Collins' has finally made it to Broadway, garnering six Tony nominations, including Best Revival of a Musical and Best Leading Actor in a Musical. Taylor Trensch and the rest of the company, in the Broadway debut of "Floyd Collins." Joan Marcus Several reviews of the musical mentioned the Wilder film, commenting that it was more successful from a story standpoint since the reporter is the main character, rather than the man in the cave. Is this valid? Where do these tellings differ, and where are they similar? Most of all, which better brings to light the legacy of Floyd Collins? 'Ace in the Hole' Chuck Tatum (Kirk Douglas) is a hard-bitten big city reporter who has been fired from 11 of the biggest newspapers for his dishonesty, drinking, and overall bad character. He ends up at the Albuquerque Sun-Bulletin, a small New Mexico newspaper run by honest Jacob Q. Boot (Porter Hall), hoping for a big story he can exploit. It takes a year, but Chuck finally stumbles across a story while on his way to cover a rattlesnake hunt. Leo Minosa (Richard Benedict) was excavating Indian artifacts. The owner of a small rest stop, Minosa has been trapped by a collapse in the nearby cliff dwelling. Chuck Tatum (Kirk Douglas, L) and Leo Minosa (Richard Benedict), in "Ace in a Hole." Paramount Pictures Inspired by the infamous Floyd Collins media circus, Tatum runs with the story. He convinces Minosa's indifferent wife, Lorraine (Jan Sterling), to stick around and reap her share of the profits. He bribes the local sheriff to give him exclusive access to the trapped man and the story. To keep the hype going, Chuck convinces the engineer in charge of the rescue operation to drill through the top of the mountain, which will take seven days, rather than his original 12 or 14-hour plan. But as the seven days near their end, Chuck learns that Leo may die before they reach him, and a human-interest story is no good with a dead man as its finale. Related Stories 5/13/2025 8/28/2024 After the success of his last film, 'Sunset Boulevard,' Billy Wilder was given carte blanche by Paramount executives to make whatever film he wanted. He made 'Ace in the Hole' and, while it was a financial disappointment, both he and lead actor Douglas considered it some of their best work. No matter what you anticipate going into this film, it will exceed your expectations. The narrative of one man's avarice overcoming the common bond of humanity is jarring, but Douglas portrays it with such nuance that you can understand and even relate to Tatum while being disgusted by his actions. Although Douglas is the film's only A-lister; the supporting actors are equally strong, each painting a deep and believable character, no matter how small. Beyond the excellent character-building and acting, one must appreciate the cinematography and overall spectacle of the media circus presented in the film. What starts as a few curious spectators gathering at the site soon becomes a full-blown carnival, with calculating Lorraine even allowing a fair to set up outside the mountain where her husband is trapped. The picture is then complete, with tents, rides, concessions, a band, and a vast sea of parked cars. The aerial shots from the top of the mountain, with the huge drill visible at the edge of the screen, are some of the most breathtaking I've ever seen in a film, both for their sheer visual magnitude and for their emotional impact. 'Floyd Collins' In 1925 Kentucky, adventurous cave explorer Floyd Collins (Jeremy Jordan) enters a cave system in search of a new cavern to turn into a tourist attraction. He finds one, but on his way out, his left foot gets trapped by a large rock. While attempting to free his foot, he causes a small cave-in that traps his legs and arms. When Floyd hasn't emerged by the next day, a local boy alerts Floyd's family, including brother Homer (Jason Gotay), who has just returned from his latest trip to the big city, and sister Nellie (Lizzy McAlpine), who was recently released from a mental institution. Soon, hopeful young reporter 'Skeets' Miller (Taylor Trensch) arrives on the scene. As the only person both small and brave enough to squeeze into the crevice trapping Floyd, he interviews him and joins the rescue mission, led by officious engineer H.T. Carmichael (Sean Allan Krill). When a national newspaper picks up Miller's article, the story spreads like wildfire. Soon, thousands flock to the scene, creating the tourist carnival Floyd had hoped for, only he, not the cave, is the attraction. As days pass and every rescue attempt fails, even Floyd's persistent hopefulness, the intermittent company of Skeets and Homer, and his special telepathic connection with Nellie can't keep his spirits up. When a second cave-in cuts him off from all contact with the outside world, he must finally face the fact that he's trapped. The audience's first impression of any work is visual; sadly, 'Floyd Collins' doesn't deliver. While Floyd's opening number is cleverly choreographed with a series of metal trapdoors and ramps, the stage is essentially empty for most of the show. The oversized metal shaft that appears in the second act, while an impressive piece by itself, doesn't make up for the lack of a cohesive set. The 'crevice' in which Floyd is trapped can best be described as a metal lounge chair. There's no attempt to represent the rocks that trap him, and the audience is required to imagine far too much. The cast is led by Jordan, whose powerful vocals and raw, emotional acting shine as always. However, the rest of the cast fails to live up to his level of talent and polish. Singer/songwriter McAlpine, in her Broadway debut, sounds weak in her singing, and displays little personality beyond that of a modern influencer. Gotay, while competent, lacks the depth of his onstage brother both as an actor and singer. Trensch's performance as 'Skeets' is emotional, but his character lacks a strong arc. A better script would have more impact if his character went from a news-hungry journalist to a deep, sympathetic friend, then to the man in the cave. Guettel has been noted for his symphonic and at times atonal style of composition, with many comparing him to the late Stephen Sondheim. While his songs lack the catchiness and memorability of those written by his grandfather, Broadway legend Richard Rodgers, there is heartfelt sincerity and depth to this score. The scenes in the cave are touching and beautiful, both musically and emotionally. The lack of sets and sometimes sporadic narrative are disappointing, but the beauty at its heart is unmistakable. Fun times aboveground while Floyd remains trapped underground, in "Floyd Collins." Joan Marcus Spectacle and Soul Librettist Landau stated that the work is commentary on how we, as a society, capitalize on tragedy. In contrast, 'Ace in the Hole' focuses on one man's greed and ambition, rather than condemning society as a whole. As Tatum observes in the film, a story about hundreds of men caught in a tragedy isn't nearly as impactful as one man suffering alone. The same can be true of a villain. Perhaps the onlookers outside the New Mexico cave behave in poor taste, but many truly hope to see Leo emerge alive. They feel grief-stricken when he doesn't. The musical's minimalist production and notably small cast keep it from feeling like the huge, bustling circus that gathered at the real-life tragedy. Instead, it focuses on the characters' emotions and inner narratives, particularly those of Floyd and his siblings. The carnival number, while impacting with its projected fireworks and strobe lights, is still far from the overwhelming spectacle that Wilder put onscreen. As Instagram reviewer Both the musical and the film have unique, affecting qualities. 'Ace in the Hole' is readily available to buy or stream on many platforms, and 'Floyd Collins' is currently playing at Lincoln Center's Vivian Beaumont Theatre. Why not explore both caves for yourself and find out which one deserves true glory? What arts and culture topics would you like us to cover? Please email ideas or feedback to
Gulf Today
13-05-2025
- Entertainment
- Gulf Today
Lizzy McAlpine makes her Broadway debut, coming at a perfect time
Lizzy McAlpine is surrounded by music these days. She's making her Broadway debut in a daring stage musical, and when she retreats to her dressing room, her own songs demand attention. 'When the inspiration hits, I've got to write. I've got to have a guitar there or else I'll go crazy,' she says. 'I just kind of have to wait for them. I can't really force a song.' The folk-pop singer-songwriter is following-up last year's release of her third album, 'Older,' with a role in 'Floyd Collins,' a musical about life, death and fame. She calls it perfect timing. 'I was starting to feel like I wanted to do something new, and this kind of came at the perfect time. It's the first and only Broadway show that I've ever auditioned for,' she says. McAlpine has been building a sonic reputation for raw, stripped-down tracks and intimate, deeply reflective lyrics. Her single 'Ceilings' went viral on TikTok, and 'Older' has been hailed by critics. Broadway made sense for a woman who grew up watching shows in New York and who has an 'ability to infuse each song with character, as if acting,' the AP said in a review of 'Older.' 'I feel like all of my music has musical theater in it because I have loved theater for so long,' she says. 'I saw my first Broadway show and I was like 8, and so, it just kind of seeps into my music whether I am conscious of it or not.' 'Floyd Collins,' which just earned six Tony Award nominations, tells the tale of a hapless explorer who gets himself trapped in a Kentucky cave in 1925, triggering the first modern media frenzy. McAlpine plays Floyd Collins' sister, a woman who doesn't fit in. 'She is strange, definitely, but it's just because she's in her own world, and she sees the world differently than everyone else. She sees the beauty in it. She's like a sponge. She picks up everything that everyone is throwing out. She's just different. Not necessarily in a bad way,' McAlpine says. 'It explores being a young woman in the 1920s and being misunderstood and not listened to and not heard, and that's like been a theme in my life because I'm working in the music industry. I'm surrounded by men all the time.' McAlpine, 25, didn't know much about 'Floyd Collins' — it deputed off-Broadway in 1996 — but was a fan of its composer and lyricist, Adam Guettel, who created 'The Light in the Piazza,' one of her favorite musicals. 'I saw his name and I was like, 'Oh, I love him.' So I listened to the cast recording on Spotify from the original production and immediately was just hooked,' she says. 'It just sounded like nothing that was on Broadway now. It was just so unique, and I love that kind of stuff.' McAlpine, who was raised in a suburb of Philadelphia and attended the Berklee College of Music, did theatre in high school. Associated Press
Yahoo
06-05-2025
- Entertainment
- Yahoo
Singer-songwriter Lizzy McAlpine makes her Broadway debut, coming at a 'perfect time'
NEW YORK (AP) — Lizzy McAlpine is surrounded by music these days. She's making her Broadway debut in a daring stage musical, and when she retreats to her dressing room, her own songs demand attention. 'When the inspiration hits, I've got to write. I've got to have a guitar there or else I'll go crazy,' she says. 'I just kind of have to wait for them. I can't really force a song.' The folk-pop singer-songwriter is following-up last year's release of her third album, 'Older,' with a role in 'Floyd Collins,' a musical about life, death and fame. She calls it perfect timing. 'I was starting to feel like I wanted to do something new, and this kind of came at the perfect time. It's the first and only Broadway show that I've ever auditioned for,' she says. McAlpine has been building a sonic reputation for raw, stripped-down tracks and intimate, deeply reflective lyrics. Her single 'Ceilings' went viral on TikTok, and 'Older' has been hailed by critics. Broadway made sense for a woman who grew up watching shows in New York and who has an 'ability to infuse each song with character, as if acting,' the AP said in a review of 'Older.' 'I feel like all of my music has musical theater in it because I have loved theater for so long,' she says. 'I saw my first Broadway show and I was like 8, and so, it just kind of seeps into my music whether I am conscious of it or not.' 'In her own world' 'Floyd Collins,' which just earned six Tony Award nominations, tells the tale of a hapless explorer who gets himself trapped in a Kentucky cave in 1925, triggering the first modern media frenzy. McAlpine plays Floyd Collins' sister, a woman who doesn't fit in. 'She is strange, definitely, but it's just because she's in her own world, and she sees the world differently than everyone else. She sees the beauty in it. She's like a sponge. She picks up everything that everyone is throwing out. She's just different. Not necessarily in a bad way,' McAlpine says. 'It explores being a young woman in the 1920s and being misunderstood and not listened to and not heard, and that's like been a theme in my life because I'm working in the music industry. I'm surrounded by men all the time.' McAlpine, 25, didn't know much about 'Floyd Collins' — it deputed off-Broadway in 1996 — but was a fan of its composer and lyricist, Adam Guettel, who created 'The Light in the Piazza,' one of her favorite musicals. 'I saw his name and I was like, 'Oh, I love him.' So I listened to the cast recording on Spotify from the original production and immediately was just hooked,' she says. 'It just sounded like nothing that was on Broadway now. It was just so unique, and I love that kind of stuff.' Broadway lured her McAlpine, who was raised in a suburb of Philadelphia and attended the Berklee College of Music, did theater in high school. Her grandparents would take her and her siblings to Broadway every year, and her mom would sing 'Wicked' in the car. During the pandemic, she livestreamed Broadway covers on Instagram. 'She had a kind of unaffected directness and purity and honesty in how she approached the reading of the role, to say nothing of the singing,' says Tina Landau, who directed 'Floyd Collins' as well as supplied the book and some lyrics. 'I really felt that there was something in how unfettered and organic and unadorned her approach to it was that was perfect for the character, because Nellie just speaks truth.' McAlpine remembers seeing 'My Fair Lady' at the Vivian Beaumont Theater at Lincoln Center — the same theater she graces in 'Floyd Collins.' 'Sometimes I'm on stage and I'm just thinking about I was in the audience one time, and it is just so crazy.' After the musical, she plans on another album, and the music that's coming out has been touched by the show. 'It feels like it's becoming more complex because I'm singing these songs that are so complex every day,' she says. After that, she's open to ideas, even to more theater. 'It has to be the right thing. This felt like it came to me at the exact right time in my life, and this was the exact right show for me. And so, if something else comes along, it would have to be the exact set of circumstances.' If that sounds like a singer-songwriter who is taking charge of her career, McAlpine would agree. She's done, for example, with an unhealthy pace to her tours. 'I'm finally at a place in my career where I can make decisions and do things that really align with myself. There was a while there before my last album where I was kind of just being pulled along, and I was just doing things because that's how everyone does them,' she says. 'I feel like I am now more sure of myself, and I know what I have to do to make myself feel comfortable. Even if it's outside of the norm or what other people do in the industry, I'm going to do it anyway.'
Boston Globe
01-05-2025
- Entertainment
- Boston Globe
It's nail-biting time on Broadway as Tony Award nominations roll around
'Stranger Things: The First Shadow' co-director Justin Martin says he's been excited by the mixed offerings this season — silliness and seriousness and everything in between. Advertisement 'We can hold all that, but it does feel like there is a lot of desire for escapism at the moment. And I wonder whether that is to do with the political situation,' he says. Predicting the top musicals and plays Best new musical will likely contain the android rom-com 'Maybe Happy Ending,' the comedy about frenemies 'Death Becomes Her' and the corpse-centered 'Dead Outlaw.' That leaves two slots open, perhaps taken by the immigrant tale 'Buena Vista Social Club,' the British farce 'Operation Mincemeat,' the revue 'Stephen Sondheim's Old Friends' or the bio of a cartoon 'Boop!' The best new play category will likely see the loony bio of Abraham Lincoln's wife 'Oh, Mary!,' the drawing-room drama 'Purpose' and the feminist 'John Proctor Is the Villain.' That leaves two slots for worthy candidates like the Pulitzer Prize-winning 'English,' the George Clooney-led 'Good Night, and Good Luck' — the first play to gross over $3 million in a week — and 'Stranger Things: The First Shadow,' an effects-driven prequel to the hit Netflix show. Advertisement Two plays with starry casts and expensive tickets will probably get nods in the revival category — 'Glengarry Glen Ross' with Kieran Culkin, Bob Odenkirk and Bill Burr, and 'Othello' with Denzel Washington and Jake Gyllenhaal. Two other possible candidates are 'Our Town,' starring Jim Parsons and Katie Holmes, and a millennial-targeting 'Romeo + Juliet' with Kit Connor and Rachel Zegler. Safe bets for best musical revival candidates are McDonald's 'Gypsy' and the Nicole Scherzinger-led 'Sunset Blvd.' That means 'Floyd Collins,' 'Pirates! The Penzance Musical' and 'The Last Five Years' will likely be competing for the other two slots. Tina Landau, a Tony-nominated director, playwright and lyricist, wasn't able to see any shows this season for a very good reason. She had two shows — 'Floyd Collins' and 'Redwood' — open months from each other. 'I'm very glad that there's so much work,' she says. 'I feel like when you have a season this big, there's room for everyone and everything. Some are apples and some are pears and some are bananas and some are peaches. I just feel very blessed to have had two works that matter to me so much open at the same time, or open ever at all.' Turning to the actors On the male side, outstanding work was turned in by Darren Criss in 'Maybe Happy Ending,' Jonathan Groff in 'Just in Time,' Tom Francis in 'Sunset Blvd.,' Jeremy Jordan in 'Floyd Collins' and Andrew Durand in 'Dead Outlaw.' Advertisement Eyes will be on this season's 'Succession' stars — Culkin and Sarah Snook — hoping to join their old co-star Jeremy Strong with Tony love. Strong won the leading actor award last year in a revival of 'An Enemy of the People.' Snook is virtually a lock in the best actress in a play category, playing all 26 roles in 'The Picture of Dorian Gray.' Her competition likely will be Sadie Sink from 'John Proctor Is the Villain,' Laura Donnelly in 'The Hills of California' and LaTanya Richardson Jackson from 'Purpose.' Some Hollywood A-listers — Washington, Gyllenhaal and Clooney — could make the lead actor in a play category, along with Cole Escola, who wrote and starred in 'Oh, Mary!' The fifth slot could go to Connor, Parsons, Daniel Dae Kim in 'Yellow Face' or Robert Downey Jr., who made his Broadway debut in 'McNeal.' As for competition for McDonald, Scherzinger in 'Sunset Blvd.,' Helen J Shen from 'Maybe Happy Ending,' Jasmine Amy Rogers in 'Boop!' and Sutton Foster from 'Once Upon a Mattress' are strong candidates. The Tony Awards will be handed out June 8 at Radio City Music Hall during a telecast hosted by 'Wicked' star and Tony winner Cynthia Erivo.
