FLOYD COLLINS Reviews — Page 3

I've not been a fan of Taylor Trensch, but found his work in Floyd exemplary in every way. He's quite perfectly cast as Skeets, and to me scores as big or bigger than Gotay. It's a tough but critical role, and Trensch fully inhabits it. Yet I'm feeling that only Jordan will get an acting nod in the Tonys. The production's reception is certainly positive overall (8/7 at "Did They Like It" so far, though some of those up-raised thumbs are more mixed IMO), but not the 2nd chance for the piece that some had hoped for. (he original production was famously upstaged by a little also-ran called Rent. Though if you go back and check, Floyd has its admirers in awards season that year, in the categories that included all of NYC theater.

It feels distinctly unfair to "rate" or judge any performance in MHE in comparison to what other performers have to do in their shows- of COURSE Jeremy has the upper hand, he's playing Floyd Collins in Floyd Collins and given one of the finest songs written for the male voice in contemporary musical theatre.

Darren has distinct parameters around his performance tethered to the emotional rules of the show (How much can or SHOULD the robots show us in re. to emotional intelligence?)

Meanwhile, Francis has a much more unorthodox challenge in creating humanity around Lloyd's noise.

They're all great performances in my book. They all achieve exactly what they need to within the context of the work they're in. Any of them winning would be a triumph.

I saw this about ten days ago. I can't imagine they changed that much from then until now.

Most of what I am going to write is about the NY Times review.

This is a show every person who loves and "studies" Musical Theatre should see... regardless of it's flaws this is must see. It's an intellecutal, dense piece which requires the audience to come prepared. It's sometimes difficult to sit through... and some times it's sublime. The word the reviewer in the Times used. I believe. Of often do you get "sublime" in theatre? Jeremy Jordan is remarkable in this role. He is so talented, He probably should have won the Tony for Newsies. He finally had material, in Floyd Collins, that is equal to his talent. HIs voice sounds so healthy and in it's prime. This also should have the Broadway world look at him differently in the chloce of roles he could do.

The NY Times reporter wants to prove to us how smart she is. The intricate details of the plot are a waste of space. She says very little about Jeremy Jordan's performance. His performance deserves a paragraph. She says almost nothing about the rest of the cast.. who were wonderful.... She mentions these people as though they are insignicant to her "Critic's Pick". Jason Gotay was very good. Taylor Trensch is doing really interesting work. He adds a real authenticity to the piece. The person the reviewer did mention, I thought was the weakest link. Have you ever sat in the theatre and was looking at an actor thinking to yourself... "what did the director see in THIS person that made them want to cast them?".... it's not that Lizzie McAlpine is bad... she isn't.. at times is very sweet and effective, but for the most part.... she looks lost. She looks like she is not in her element. She doesn't have the same energy as the rest of the cast. The reviewer doesn't mention either Mark Kudisch or Sean Krill who are both integral to the plot she is so detailed about.

I may be repeating myself by now but if you are really interested in musical theatre as an art form, and not just as entertainment.... if you can look at this as an intellectual experience, I think you will enjoy it more. It is a great production of a very layered and complex piece. Don't pay attention to any of the reviews... it's Lincoln Center... the orchestra. The sets. The amazing performers. A show you are not going to see again for a long time.

Robbie2 said: "What about Johnny -NY Post"



https://nypost.com/2025/04/22/entertainment/floyd-collins-review-jeremy-jordan-stars-in-a-broadway-musical-about-a-forgotten-american-tragedy?

Jeremy Jordan stars in a Broadway musical about a forgotten American tragedy

it is wonderful...see it if you can...

NYT: Jeremy Jordan, Searching for Challenges Onstage

https://www.nytimes.com/2025/04/23/theater/jeremy-jordan-floyd-collins.html?unlocked_article_code=1.B08.MfX3.hm1K6gHrItX7&smid=nytcore-android-share

Saw this last night. I was fully anticipating to be intellectually stimulated but not emotionally engaged, and that is not the case. Jeremy Jordan is giving a moving, haunting, charming, gorgeously sung performance that I feel is completely Tony-worthy. The scenic design is sparse, as others have mentioned, but I loved how vast it felt when Floyd was exploring and how versatile it proved to be later on with the carnival and other above-ground setpieces. The direction worked better than I thought it would.

I can understand why this might not be for everyone, but if something like Girl from the North Country or, well, any Adam Guettel piece is on your wavelength, I highly recommend this.

How a Kentucky Man Trapped in a Cave Became a Broadway Musical

https://www.nytimes.com/2025/04/25/theater/floyd-collins-musical-history.html?unlocked_article_code=1.CU8.Pt61.gCXtpTpCfmUB&smid=nytcore-android-share

I thought this was stunning, transcendent, remarkable theatre tonight. Moment after moment, I felt tears welling up and rolling down my cheeks. Musicals rarely feel this ecstatic and alive, and I’m so glad I didn’t let the initial negative reactions sway me from seeing one of my favorite scores performed live.

LOVED this - and Jordan is giving THE BEST male vocal on the most difficult music of the season. Jordan and Francis have our votes - and McAlpine's voice fits the show like a glove.

Caught this the other night and found it totally stunning. I am surprised by some of the comments critiquing the scenic design — I thought the use of negative space was beautiful and served the material well. I am thrilled that LCT took this risk and produced something so polarizing…great theatre on Broadway is alive and well.

Ragtime begins performances in mid-September, so if there's any window for an extension, it could only be a short one. That said, I doubt there's much demand for an extension. I saw the show last week and it was pretty sparsely attended -- the 100s and 500s section of the orchestra were largely empty and the loge was about half full.

I would think there is a bit of wiggle room if he wins best actor or best revival?