Centerstage - Chicago's Original City Guide

Goodman Theatre
Tickets: (312) 443-3800
Through June 5

There are musicals that have nice songs and a book that simply connects the songs together, and you leave the theatre in a nice peppy mood: pure entertainment, nothing more. And then there are musicals like Floyd Collins, a new musical that tears down all the conventions, entertains and changes you at the same time. Bravo to the Goodman Theatre for taking a risk and producing this work that dares to challenge convention. Floyd Collins is a work of genius.

A true story set in Kentucky in 1925, Floyd Collins is a story of love, mysticism, and fate. Floyd Collins (Romain Fruge) is in search of a cave that, once opened to the public, will make him rich. Floyd finds a sand cave, and in a brilliant musical number ("The Call") sings a trio with the echoes of his own voice. On the way back out of the cave, he is trapped when a boulder falls on his foot, trapping him in a crawl space just barely big enough for his own body. The rescue operation begins, and together with several other explorers, Floyd's brother Homer (Clarke Thorell) attempts to dig Floyd out of the cave. Skeets Miller (Guy Adkins), a newspaper reporter, is sent to report on the incident, and ends up joining the rescue operation; mainly because he is the only one small enough to crawl into the area where Floyd is trapped. H.T. Carmichael (John Ahlin), a representative of the Kentucky Rock and Asphalt Company, arrives and takes over the operation, much to everyone's disdain. While the rescue operations continue, Floyd's sister Nellie (Kim Huber) begins to communicate with Floyd telepathically. Floyd Collins is as much the story of Floyd's family and the media circus that follows as it is the story of Floyd himself. Floyd's rescue operation begins to take a back seat to all the people arriving at the rescue site looking to make a buck at any cost. It just shows you that nothing has really changed. The only difference is that the technology is more sophisticated nowadays. Floyd Collins' story was the third biggest news event between World Wars I and II, a story only eclipsed by Lindbergh's Trans-Atlantic flight and the Lindbergh kidnapping.

Tina Landau, also the director (one of the only people in the world who can truly direct their own work with a sense of objectivity), stages this show with all the intensity of a power plant. Her staging and character development are two of the things that make her one of the most talented directors in the theatre today. There is not a failed moment. Adam Guettel, the grandson of Richard Rodgers, is one of the brightest lights in the American theatre. His score is complex, beautiful and exciting; difficult but eminently singable. Landau's book, together with Guettel's music, form a cohesive show that never lets up. When intermission comes, you will be disappointed that you have to wait 15 minutes to see the rest.

Regardless of the fact that the show is titled Floyd Collins, it is really ensemble piece. The entire cast is worthy of high praise. Notably, Romain Fruge, whose spectacular voice soars through his intensely difficult music; Clarke Thorell, as a driven Homer Collins; Guy Adkins, as Skeets Miller, who gives an astoundingly three dimensional performance; and Kim Huber, who gives a beautiful other-worldly performance as Floyd's sister Nellie.

There aren't many shows that I can say I would be very sorry if I missed, but Floyd Collins is one of them. It is truly a work that is capable of reviving the lost art of the American Musical. Don't miss it.