FLOYD COLLINS at NYU

[mbarrett]

Posted: 2/9/08 at 2:53pm

In the musical Floyd Collins, based on a true story and being performed at NYU this weekend and next, a man trapped in a cave quickly snowballs from a small problem to a bigger problem, to a news story, to a media feeding frenzy. The “cub reporter” who started the circus apologizes to Floyd for turning him into a story. This production of Adam Guettal and Tina Landau’s strikingly modern musical is one hell of a story, but needs no apology.

Floyd Collins is by no means a simple musical. The score is full of changing rhythms and unusual sonorites; the lyrics bounce quickly between Kentucky vernacular, poetry, and non-word syllables; a community has to be created and then torn apart; and, last but not least, a man has to be stuck in a cave, unable to move his arms or legs, on stage, for most of the show. That being said, what makes this production so remarkable, what makes it work so well, is the simplicity of it. This production tells the story of Floyd in such a straightforward manner that the audience doesn’t see these pieces that put the show together or even the seams holding it all in place.

The direction, by John Simpkins, is clear and focused on reporting the events, as Skeets Miller tries to do for Floyd. The performers work as an ensemble, no one stepping out and drawing more attention than necessary to add the next knot to the yarn. The ingenious set by Michael Schweikardt all at once seems as precarious as the position in which our hero finds himself, but fluid enough to quickly handle the cinematic changes of location, with ample help from lighting by Chris Dallos. The most notable aspect of the costumes is that they aren’t noticeable: Michelle Humphrey designs a palette of clothing with subtle differences in class and occupation, but all appropriate to the time and place. Music flows in and out of the story gently, so you never notice the start of a song or the end of one, just motion towards an inevitable conclusion. (Helming the musical journey is Grant Wenaus). Though the arrangement of an onstage orchestra (and thus completely amplified orchestra) does create some uneven spots in the sound, it is never to distraction. In a piece that lends itself to showboating, either musically, dramatically, or scenically, this production impressively devotes itself to the single aim of reporting the truth of this man’s struggle, with no showboats allowed.

Some notable performances are by the brothers at the center of the tale, Jay Armstrong Johnson (a frequent shining star on Steinhardt stages) as Floyd, and Nic Rouleau, as Homer. These men’s voices are superb on Guettal’s music. Jeremy Morse as Miller, the reporter, honestly takes the strange journey of the young journalist turned rescuer. Jordan Person, as sister Nellie, and Anna Winthrop, as Floyd’s stepmother Miss Jane, supply enough femininity to this male dominated piece that only after the show did I realize that Cave City, KY had only two women in it.

A note in the program tells us that Skeets Miller’s reporting about Floyd was different than reports about other trapped cavers because he made the trapped man a real person. The real person’s plight inspired empathy, action, despair, and hope to thousands. This production is Skeets Miller’s story, featuring the same fully real people and inspiring the same huge palette of feeling.

Floyd Collins. For the schedule of performances, visit www.steinhardt.nyu.edu/music.

[Pippin]

Posted: 2/11/08 at 11:40am

has anyone seen this yet?

I would love to hear opinions.

[CyCoSpAz2]

Posted: 2/11/08 at 3:06pm

I might go see it this coming weekend... gotta love the NYU student discount.