How Glory Goes.

Premiering off-Broadway almost 30 years ago, musical tragedy Floyd Collins makes its long awaited Broadway bow in this exquisitely realised, deeply moving production. 

Original director and book writer Tina Landau returns to direct this 2025 season, bringing her collaboration with composer and lyricist Adam Guettel to rich fruition. Based on a real incident in 1925 Kentucky, Floyd Collins pulls no punches in exploring the searing humanity of a young man facing a dark fate, expanding its reach to invoke judgments on the buzzards that hungrily circle a disaster.

Optimistic adventurer Floyd Collins dreams of the attention and tourism that will come when he discovers a wondrous underground cave. The attention and tourism arrive, not for a newly discovered cave but for the attempted rescue of poor Floyd, cruelly trapped underground.

Floyd’s brother Homer Collins initially leads the rescue charge, with first reporter Skeets Miller providing courageous and compassionate assistance. Floyd’s sister Nellie, back from the sanatorium after the her death of their mother, supports father Lee, a struggling farmer, and step-mother Miss Jane. 

While the story covers the media circus that ensues, director Landau ensures that the musical itself is handled with dignity and respect. A hefty contingent of family members, townsfolk, and visitors is clearly established, and fantastical sequences land with crisp clarity. 

Staged on the vast playing space of the Vivian Beaumont at Lincoln Center Theater, the musical begins with an empty stage, gradually filling as rescue equipment arrives, followed by food vans and carnival attractions. In the sets by dots, the “caves” are created by pieces of the stage rising and falling hydraulically. The thrilling opening sequence sees Floyd climb a set piece then hang on to a rope high over the stage, descending to explore further before being trapped in a mimed rock slide. 

The rescue attempts of Floyd focus as much on the practical process as on keeping his spirits as high as possible. Floyd’s close relationship with his brother Homer and his developing relationship with reporter Skeets are the heart of the show and are handled beautifully. Floyd can be visited by Homer and Skeets, and later dreams of seeing his dear sister Nellie. 

The vagaries of the press are amusingly handled in act two opener “Is That Remarkable,” clearly demonstrating how little it takes for reporters to seize upon misleading information and spread fake news. 

With so much open space, the lighting design of Scott Zielinski is of prime importance, definitely drawing attention back-and-forth to key characters during montages, and effectively creating the caves themselves with corridors of light and an abundance of dark. 

Sound designer Dan Moses Schreier creates the authentic sound of echoes, also adding to the tension with the fall of crumbling rocks. 

In a towering achievement, Jeremy Jordan conveys extraordinary emotion using just his voice, confined for the most part to a ledge where he cannot move his body, arms, and legs. Jordan has just his opening I wish song “The Call” to establish a close attachment from the audience, which he does very successfully. The care and love of those trying to help Floyd is believably centered upon Jordan’s engaging portrayal of the well-intentioned young man. Oh so tenderly sung, 11 o’clock number “How Glory Goes” is a cathartic climax for the awful tragedy that has searingly been portrayed. 

Jason Gotay gives Homer a forthright, impassioned outlook, never flinching in portraying Homer’s devotion to his dear brother. Taylor Trensch endearingly takes the audience with him on Skeet’s journey from rookie reporter to crucial rescue worker and affectionate supporter of Floyd. 

Lizzy McAlpine brings a rich inner life to helpless Nellie, earning well-deserved audience acclaim with her delicate act two ballad “Through the Mountain.” Marc Kudisch draws sympathy for suffering father Lee, clinging to hope in the face of futility. 

The large ensemble cast works together seamlessly to capture the time and place of the story and to vividly conjure a range of supporting characters. 

A treasure for true musical theatre lovers, Floyd Collins is certainly no GP crowdpleaser. The presence of such an authentic work of art on Broadway is cause for celebration. 

Floyd Collins was reviewed 8pm Friday 9 May 2025 at Vivian Beaumont Theater, New York. For. tickets, click here.

Photos: Joan Marcus