FLOYD COLLINS Previews — Page 3

I also just got back from the show tonight and I really did not enjoy that. Jeremy Jordan was in great voice and he’s really giving an incredible performance but the show as a whole is a huge misfire. The Beaumont is a giant barn, and the completely bare stage made it seem even larger. There was absolutely nothing claustrophobic or cave-like at all. I was in the front row right next to where Jeremy was the whole show and it just looked like he was laying on a nice lounge chair. They are all telling us how precarious Floyd’s situation is, but it really does not come across in the staging. I didn’t really have any kind of emotional response, it should be tense and dramatic. I had so many issues with the book, the weird sister character, so many jokes that fall flat, etc.

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Even Virginia got us beat with this cute little cardboard cut out! Give us something guys, you were the people that made a ship move during The King and I!

Seriously, just watch Will Blum do it in his apartment with cardboard boxes.

https://youtu.be/BKP-1vhU0B4

Sutton Ross said: "Even Canada beat us with this sweet little ramp. Dag.

"

Ha! That is leagues better than what is at LCT. Seriously he just looked like he was taking a relaxing nap most of the show.

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I saw this last night and had a hard time keeping my eyes open. I was jealous of the couple sitting next to my friend and I who left at intermission. I think it may be the worse thing I've ever seen on Broadway .. mostly because I usually pick things I know I will like. I was not familiar with the story or the music ahead of time. I saw bluegrass mentioned in something I saw and my husband was a fan of that genre and played in jams and died in 2022 so it holds a place in my heart. Aside from a banjo and harmonica I could hear in some songs - I didn't hear bluegrass. My seat was in the 500's and I was distracted by the band leader probably because I was bored by what was on stage and there being not much to look at there.

I was surprised by the thunderous standing ovation at the end of the show.

Sad that given LCT's resources, the creative team has opted for less production design than the Goodman outing two decade ago.

They could have built the most incredible cave in that space. Would have been thrilling.

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People always cite "When Glory Goes," and it's ravishing, but the number that breaks me - maybe a first - is Floyd's I Want song, "The Call." I've never listened to it - eloquently, poetically sung by Christopher Innvar - without tearing up. It's a song of such unbridled optimism and hope - a man who feels he's about to nail the circumstance and resulting event that will move him from wannabe/loser into an achiever. When he sings about wanting to finally convince his father he has worth - promising him a place under an apple tree - I feel the weight of the stakes. To me, its so heartbreaking, it defines the show. And the adds - not actual reprises - are so melodically challenging, the character that emerges is unlike any outside of folk opera.

Hoping the number launches here. It's the mobile, athletic Floyd, before his predicament, and I'd expect the staging to capture the youthful glee.

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Updated On: 4/3/25 at 02:14 PM

Does anyone have any insight into how a production like this is financed at Lincoln Center?

gibsons2 said: "BorisTomashevsky said: "They could have built the most incredible cave in that space. Would have been thrilling."

I was expecting a cave as well. Surprised and disappointed that this time LCT didn't live up to their usual standards of stagedesign."

If they'd done this in the 21/22 season instead of Flying Over Sunset or Skin of Our Teeth, the entire stage would rise up to reveal an intricate cave system. It seems like since that season, every show has just struggled so much to fill that space. It's such a huge stage, you either have to really fill the space or find a way to make it smaller.

That being said, I actually liked this quite a bit. I thought the score was great, the cast was awesome, the lighting is fantastic, the orchestra sounded great. I got LincTix and I'm glad I didn't pay more than I did. But, for $35.50, I think this was very worth it.

jkcohen626 said: " I got LincTix and I'm glad I didn't pay more than I did. But, for $35.50, I think this was very worth it."

This might be the pull-quote of all time.

Kad articulates my thoughts better than I could! I think this spare, abstract staging is a really strong choice for this show... but not at the Beaumont? I was perplexed when it was announced and surprised there wasn't more trepidation of staging this show in that HUGE theater... but I assumed they had a plan to address that. I think you could move this whole production down to the Newhouse and it would work like gangbusters.

To be fair. Not many productions have successfully navigated that space. Bartlett Sher was the only director that seemed to really understand the space from show to show. Obviously, there have been productions that nailed it... but it really seems to be a problem for directors.

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This was such a bad show. I was restless during Act 1. The performances are overall subpar except for Taylor Trensch. Jeremy's voice is too contemporary for the score. It doesn't really fit him. The score is not exceptional either. Weird choice to be reviving this, really.

Updated On: 4/5/25 at 09:19 AM