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FLOYD COLLINS Makes Broadway Debut at Lincoln Center Theater
Tonight marks the unveiling of a gripping chapter from American history as FLOYD COLLINS premieres at Lincoln Center Theater. This production stars Tony-nominee Jeremy Jordan, promising to deliver an evocative theatrical experience. Below, we summarize the diverse responses from critics regarding this Broadway debut!
FLOYD COLLINS features a book penned by Tina Landau, with music and lyrics crafted by Adam Guettel, supplementary lyrics by Tina Landau, and direction also by Landau.
The cast showcases Jeremy Jordan in the titular role of Floyd Collins, alongside Jason Gotay as Homer Collins, Sean Allan Krill portraying H.T. Carmichael, Marc Kudisch as Lee Collins, Lizzy McAlpine as Nellie Collins, and Wade McCollum as Bee Doyle, among others.
The production boasts designs from the creative team known as dots, with costumes by Anita Yavich, lighting by Scott Zielinski, sound by Dan Moses Schreier, and projections by Ruey Horng Sun. Dance choreography is by Jon Rua, orchestrations are by Bruce Coughlin, and the production is cast by The Telsey Office with music direction by Ted Sperling. Bonnie Panson serves as the stage manager, while Lincoln Center Theater collaborates with Creative Partners Productions and Mark Cortale & Charles D. Urstadt to bring this show to life.
Critical Reception
Laura Collins-Hughes from The New York Times praises the show as a remarkable achievement, highlighting its capacity to feel expansive despite its claustrophobic subject matter. She notes that Jordan’s performance draws viewers in, making Floyd a relatable character trapped in the pursuit of happiness.
Christian Lewis from Variety acknowledges the production’s strong components but expresses difficulty in grasping the overall coherence of the story. He commends Jordan’s performance and the beauty of Guettel’s score, suggesting the piece is still worth experiencing, if not completely polished.
Charles Isherwood of The Wall Street Journal finds that the show transcends its inherent sadness through tenderness, particularly noting Jordan’s powerful rendition of “How Glory Goes,” which delivers a genuine emotional lift.
Greg Evans from Deadline points out the haunting qualities of the score but also comments on the pacing issues, especially towards the show’s conclusion, suggesting that a tighter narrative could optimize its impact.
Chris Jones writing for The New York Daily News notes that while the show addresses broader themes of media exploitation, it struggles to forge a deep emotional connection with the audience, limiting its overall effectiveness.
Adam Feldman of Time Out New York describes the narrative as an elegy for a character lacking depth, critiquing the connection audiences may feel toward Floyd himself.
Lane Williamson from Exeunt believes Jeremy Jordan’s performance brings remarkable life to the role, delivering a strong revival that captures the essence of Floyd Collins poignantly.
Robert Hofler from The Wrap ranks Jordan’s performance as one of the finest in musical theater, even as he critiques elements of the book that fall flat until later in the performance.
Juan A. Ramirez at Theatrely notes the show’s stylistic demands may hinder engagement, yet emphasizes the beauty found in its score, particularly through Jordan’s vocal prowess.
Caroline Cao from New York Theatre Guide mentions the effective lighting design and the emotional resonance of the score, despite some uneven pacing throughout the production.
Michael Sommers at New York Stage Review expresses admiration for Jordan’s portrayal, while acknowledging the overarching melancholy of the narrative and its reflection on the quest for greatness.
Bob Verini at New York Stage Review notes that spiritual connection with the protagonist may be hindered by the production’s expansive environment, diminishing the intended claustrophobic emotion.
Thom Geier of Culture Sauce appreciates the show’s various merits, yet indicates that distractions from the narrative may dilute its intensity.
Lastly, Brian Scott Lipton from Cititour emphasizes that FLOYD COLLINS is not conventional feel-good entertainment, but challenges audiences with its deep themes and profound performances.
Average Rating: 74.0%
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Source
www.broadwayworld.com