Sometimes the American dream literally caves in on you.
Such was the case with Floyd Collins, a dirt-poor Kentucky caver who got trapped 150 feet below ground while exploring a cave he hoped to make into a tourist attraction. It was the biggest media spectacle of the country in 1925. The headlines in the papers were gripping, and the trapped man captured the hearts of millions of Americans. As each tortured day passed, people wondered if Floyd would be able to escape from the damp, cold, dark cave alive.
Collins' tale was forgotten by the masses until Adam Guettel and Tina Landau decided to translate it into a musical, Floyd Collins. The show had a limited off-Broadway run in 1996 and made its way to several regional theaters around the country. And now, Floyd Collins is making its New England premiere at the Boston Center for the Arts.
The story of Floyd Collins' last days is a rather dreary subject for a musical. Composer Guettel, the grandson of Richard Rodgers, and book-writer Landeau had a mighty task before them to make this story come to life in a way that was entertaining, emotional, but not entirely morbid. And though the show drags somewhat towards its inevitable and predictable conclusion, Guettel and Landeau succeed on many levels.
Guettel's score is a mixed bag of modern music and songs with memorable tunes. The endearing simplicity of certain songs, such as "The Ballad of Floyd Collins" and "The Riddle Song," makes for some of the show's best pieces. Other songs, such as "Trapped" and "An' She'd Have Blue Eyes," are less dynamic. Collins, played by Michael Mendiola, breaks out into too many forgettable ballads, as he contemplates his fate in the cave in the first act.
Still, Guettel has written some gems. He seems to have a good feel for the musical theatre tradition and manages to include some pieces in the traditional style, such as "Is That Remarkable," a piece about the greediness of the press during the incident. With this show, he has established himself as a promising young composer on the musical theatre scene.
The SpeakEasy Stage should be commended for its powerful and gripping production of the show. Director Pual Diagneault has a strong understanding of the highly emotional and imaginative piece. The actors move fluidly around the limited and challenging space, conveying the intimacy of the show to the audience.
Even though Collins plays the central role in the show, much of the narrative action centers on his eccentric farmer family. Bridget Beirne gives an especially liberating and exciting performance as Collin's beloved sister Nellie. The show aptly expresses the deep, soulful connection between the two siblings. Beirne, who won an Elliot Norton Award last year for her performance in the SpeakEasy Stage's production of Violet, lets herself become a powerful force in the complicated psyche of the show.
Kerry A. Dowling is also wonderful as Collin's stepmother, Miss Jane. Her singing voice is full and expressive and she has a wonderful chemistry with her husband Homer, played by Job Emerson.
The role of Homer is a tough one, but Delgado manages to comfortably fill his character's shoes. Delgado is not as important a presence on stage as his counterparts, but manages to capture the confused greediness and compassion of his character. His songs tend to be a bit too high for him, and he often seems as if he is straining his voice.
Also to be commended is Brad Evans for his honest and endearing portrayal of the cub reporter Skeets Miller. Evans conveys the earnestness of his character with relative ease.
Mendiola is cast well as Floyd Collins. While he is not necessarily a dynamic stage presence, he lends a certain dignity and grace to the role. Mendiola is onstage for practically the entirety of both acts and keeps up the energy of his character for the duration of the musical.
The musical tends to drag a bit for the first act, though, dwelling too much on Collin's miserable plight. The second act is more visually and dramatically exciting - captivating scenes include when media from all over the country park themselves by the cave where Collins is buried. Other scenes, such as Collin's father selling pictures of his son to the curious on-lookers and Nelly's nervous breakdown, are especially haunting. The show loses its steam at the end and tends to get a bit sentimental and slow, however.
One of the outstanding attributes of the production is its talented ensemble of singers. Each and every performer on stage does justice to Guettel's music. Indeed, the ensemble sounds better than many of the national touring companies that come through Boston and park themselves at the Shubert or Wang. The orchestra, which is hidden behind the set, is also quite talented and led skillfully by conductor Paul S. Katz.
The set design for the show is minimal and leaves a great deal to the audience's imagination. On the small stage are a series of wooden planks that are supposed to represent the cave. Given the difficulties of actually establishing realistic cave conditions, the simplicity of scenic designer Eric Levenson's set works well. Ben Arons does a wonderful job with the sound design, and the fall of rocks and the sound of dripping water are eerily realistic.
One certainly does not leave the Boston Center for the Arts feeling uplifted after this production. However, Floyd Collins is a fascinating historical glimpse into the sad demise of a man who fell victim to a freak accident. After watching this show, it is easy to understand why Floyd Collins' tale captivated the hearts of Americans all over the country.
"Floyd Collins", The Boston Center for the Arts, 539 Tremont Street. Through Feb. 24. Wednesday thru Saturday at 8 p.m; Sundays at 7 p.m., Saturday matinees at 2 p.m. on Feb. 17 & 24 only. $19 for students. Call 617-426-ARTS for tickets.
