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Tina Landau has discovered compelling connections between her two recent musicals, Redwood and Floyd Collins, although she initially did not set out to create pieces that resonate with one another. “It was only when I experienced them side by side that the similarities struck me,” Landau shares with Gold Derby.
As the director, writer, and lyricist for both productions, Landau is deeply involved in their narratives. In Redwood, the talented Idina Menzel, who co-developed the project with Landau, portrays a woman who ascends a towering tree. Meanwhile, the Lincoln Center Theater revival of Floyd Collins, which Landau first worked on with composer Adam Guettel in the mid-1990s, features Jeremy Jordan descending into the depths of a cave. Landau recently discussed the themes of self-discovery present in both performances.
Gold Derby: Floyd Collins had a brief off-Broadway run in 1996 and is only now making its Broadway debut. What does it mean to you that this will be many people’s first time witnessing the show?
Tina Landau: It’s truly a joyous occasion. Adam was determined that I would helm this directing project, aiming for a fresh take while respecting the essence of the original production. Our goal was to honor the initial vision while infusing it with new ideas. The reality of Floyd Collins lies in its entirety—the story, the cast, the space, and equally importantly, the audience, who all contribute to this collective experience. I’m thankful this has come together at last.
The show features Floyd trapped in a confined space, yet it unfolds on the expansive stage of the Vivian Beaumont. How did you approach this contrast in staging?
It’s all about how these contrasting elements enhance each other. The feeling of confinement amplifies the sense of open space above it, and vice versa. The original production took place in a small, cramped venue, which served us well, but we always envisioned presenting it on a grander scale like the Beaumont to emphasize that juxtaposition. The story inherently explores the contrast between the vastness above and the confined underground world.
Having been involved with this musical for years, what shifted in your understanding of the story during this revival?
This time around, I found myself more deeply committed to Floyd and keen to track his journey alongside the incredible Jeremy Jordan. We revisited his character arc and adjusted certain musical numbers for better flow. For instance, a song titled “It Moves” was relocated from Act 1 to Act 2, as we felt Floyd needed more attention during that segment. We aimed to enrich the supporting characters as well, striving for a streamlined and accessible experience for our audience.
In today’s context, the storyline of a tragedy overshadowed by a media frenzy feels particularly relevant. How has this informed your production?
We didn’t intend to draw these parallels, but they have become strikingly apparent within the current landscape. The narrative delves into themes of power dynamics, societal division, and the impact of media—from misinformation to technological advancements. These issues heighten the importance of questioning our perceptions of truth versus fabricated narratives. The influence of the media is prominently woven into our show, and its relevance has come alive in ways we hadn’t anticipated.
What factors made Jeremy Jordan an ideal choice for the role of Floyd?
The vocal demands of this role are substantial, and finding someone who can meet those challenges is rare. Jeremy excels not just in technique but embodies Floyd’s youthful ambition and hopeful dreamer quality while also tapping into the character’s darker struggles throughout his transformative journey.
Similarly, Idina Menzel’s performance in Redwood also involves remarkable physical skill. What was the initial inspiration behind that story?
It all began with the simple yet striking image of a woman living in a tree. Both Idina and I encountered this concept through various channels, and it captivated our imaginations, prompting us to explore its deeper significance over time, leading to the narrative we’ve crafted in Redwood.
Staging Redwood involves complex physical movement on a floating platform—what was the rehearsal process like?
It was exhilarating yet complex. There are no engineered flying setups; the actors physically climb with their own strength using ropes and harnesses to ascend 35 feet in the air. Partnering with Bandaloop, known for their expertise in climbing and aerial work, we engaged in intense training sessions, both in their studio and on actual redwoods. During our rehearsal period, we also replicated the tree in New York so the actors could train on-site, and their accomplishments have been nothing short of astounding.
Both Redwood and Floyd Collins explore themes of self-discovery through encounters with nature. What draws you to these motifs?
I view nature as a metaphor for existence, representing the unknown. In each story, the individuals embark on quests for personal truths and ultimately face the uncontrollable aspects of life, whether related to mortality or the mysteries of existence. Both narratives explore how characters can transcend their struggles through acceptance, leading to transformative experiences.
This interview has been edited for length and clarity.
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