Jeremy Jordan (Photo: Joan Marcus)

Floyd Collins

By Fern Siegel

 

Floyd Collins, the revived musical now at Lincoln Center's Vivian Beaumont Theater, is based on a true story. In 1925, a Kentucky cave explorer (Jeremy Jordan) searches Sand Cave, hoping to capitalize on tourist interest. Squeezing through tight spaces that would terrify others, Floyd Collins' luck runs out. His spelunking causes him to lose his footing and a falling rock covers his ankle, making escape impossible. He becomes trapped 150 feet below.

Being trapped is a metaphor for Collins, 37, and his family, poor farmers barely scraping by. Trapped by economics, Floyd dreams of striking it rich. Older brother Homer (Jason Gotay) is eager to escape, though both he and mentally fragile sister Nellie (Lizzy McAlpine), offer what limited help they can.

It takes days to reach Floyd, but the conditions, despite assurances from engineer H.T. Carmichael (Sean Allan Krill), are dire. Drilling may dislodge an avalanche, so the mission is slow, laborious and done by hand.

But tragedy soon morphs into a media circus. Collins' situation was the first event of its kind broadcast on the nation's new medium: radio. And the daily drama - will they save him in time? - made national headlines. While he prayed for rescue, a carnival ensued above him.

Apparently, there isn't any horror that doesn't merit fireworks, souvenirs and games for a gawking public - and those eager to make a buck. However, the irony of Collins' story is better captured in Ace in the Hole, the 1951 Billy Wilder movie that savaged tabloid journalism, public sensationalism and exploitation.

The Company of Floyd Collins (Photo: Joan Marcus)

By contrast, Broadway's Floyd Collins is surprisingly short on dramatic tension.

Adam Guettel's music is rightly inspired by folk and bluegrass - but too many songs sound alike. Floyd does his own version of yodeling in the cave, which only adds to the irritating aspects of a structurally confused effort. We should be far more moved by Floyd's plight - and that's where Tina Landau's book wavers. (Her direction secures solid performances and some moving scenes, but less engagement.)

Jordan powerfully captures Collins' claustrophobic reality, fear and hope. Last seen on Broadway in The Great Gatsby, he has a strong voice - and many of his songs are done in a sitting position. A rare exception is the affecting "How Glory Goes." All the leads are in excellent voice, including Marc Kudisch, who plays his guilt-ridden father. Empathetic Louisville Courier-Journal reporter Skeets Miller (Taylor Trensch), who aided the 14-day rescue operations and later won a Pulitzer for his coverage, has a touching relationship with Collins, who died of exposure, thirst and starvation.

This isn't a traditional musical. It is a story ripe for interpretation. Here, the drama lives in Scott Zielinski's excellent lighting and period-style silhouettes and Dan Moses Schreier's sound. But audiences may feel trapped in a musical that, despite its promising premise, doesn't deliver the goods.

Floyd Collins

Vivian Beaumont Theater

Lincoln Center

150 W. 65 St.
Running time: 2 hours, 30 minutes
Tickets: www.lct.org/