• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides

Floyd Collins at Wilton’s Music Hall

October 1, 2016 by Carmen Paddock Leave a Comment

Review of: Floyd Collins
Produced by:
Wilton's Music Hall
Price:
£23-32.50

Reviewed by: Carmen Paddock
Rating:
3
On October 1, 2016
Last modified:October 1, 2016

Summary:

While beautifully sung and performed and placed in a perfect venue, Floyd Collins struggles under a cumbersome dramatic structure

More Details

hb_fc_517newWilton’s Music Hall is the ideal performance space for the revival of an evocative nostalgia piece such as Floyd Collins. The venue, dating from the mid-19th century, is the oldest continuously operational music hall in the world and well suits a musical based on real events: a caving accident in 1920s Kentucky. While the beautiful, appropriately cavernous space serves this production’s excellent orchestrations and top class vocal performances, the musical itself suffers from unnecessarily slow pacing, no clear dramatic structure, and clumsy lyrics undermining the narrative’s high tragedy.

In defense of Floyd Collins, the events comprising the musical’s focus are not the most obvious choice for a stage production: the titular hero, an intrepid caver, gets trapped by falling rocks when exploring Sand Cave (near Mammoth Caves in rural Kentucky). As his family and the townsfolk try to save Floyd, word of the disaster reaches the outside world. Unfortunately, all of the newspaper coverage and big business money cannot rescue Floyd after a second rockslide cuts off his supplies. Thanks to the prologue, the audience knows how the story ends before its events are set in motion; unfortunately, this takes away much plot tension for anyone previously unfamiliar with the story.

The show originally premiered in New York City for a limited 25-performance run; it has since been revived several times on both sides of the Atlantic. Therefore, it is not entirely this particular production’s fault that the pacing drags and dramatic structure does not capture the audience’s interest to the degree that it should. The plot is painfully slow in the first half – while Floyd is trapped underground there are songs which, which offering insight into other characters, do nothing to further the plot. While it may be argued that these songs show the townsfolk’s initial reluctance to take the missing man’s case seriously, they feel dramatically burdensome. Additionally, the lyrics leave much to be desired; while favouring straightforward, obvious language above poetry suits the setting, occasionally a line clunks and lessens the pathos. While these shortcomings are not the products of this production, the show would have been stronger had they tightened the action and eliminated some of the reprises.

This is not to say that the performers are unskillful; on the contrary, the entire cast – notably Ashley Robinson in the title role, Rebecca Trehearn as his sister Nellie, Sam Thomas as his brother Homer, and Daniel Booroff as the first reporter sent to cover the tragedy – bring impressive vocals and well-drawn characters to the stage. Despite staging limitations in portraying a cave and a rural Kentucky town (that said, the use of scaffolding was ingenious), a sense of place is immediately conveyed by their actions and reactions to each other and the space.

Likewise, the music itself is hauntingly beautiful. A cross between bluegrass, Copeland, and Britten, it is strongly rooted in the time and place while bringing atonal operatic elements to heighten the tale as needed.   It is incredibly difficult music to play, and it is achieved with flair.

While the musical itself may not be the strongest, this production’s excellent orchestrations and vocal performances make it an enjoyable long evening for music aficionados. Additionally, Floyd Collins’s evocative setting is a perfect show for the vintage venue, creating a nostalgic experience that London’s theatre scene may find hard to rival.

Floyd Collins plays at Wilton’s Music Hall until 15th October 2016. Performances are at 7.30pm Monday through Saturday with additional 3.00pm Saturday matinées. Tickets are £23-£32.50 and can be acquired through the venue’s website: http://wiltons.org.uk/.

 

Floyd Collins – Ashley Robinson

Nellie Collins – Rebecca Trehearn

Lee Collins – Jack Chissick

Miss Jane – Sarah Ingham

Carmichael – Ian Burfield

Bee Doyle – Craig Pinder

Ed Bishop – Marc Akinfolarin

Homer Collins – Sam Thomas

Jewell Estes – Francesco Lo Giudice

Skeets Miller – Daniel Booroff

Reporter – Joel Elferink

Reporter – Christopher Jordan-Marshall

Reporter – Alex Spinney

 

Book by Tina Landau

Music & Lyrics by Adam Guettel

Additional Lyrics by Tina Landau

 

Directed by Jonathan Butterell

Musical Direction by Tom Brady

Costume Design by Lee Newby

Lighting Design by Rick Fisher

Sound Design by Tony Gayle

Production photography by Hannah Barton

 

Presented by special arrangement with R&H Theatricals Europe in association with Wilton’s Music Hall

Author: Carmen PaddockTheatre goer and theatre writer
T: Twitter

Filed Under: Featured, Review

Join the discussion Cancel reply

INTERVIEW / Fraser Grace talks about Bliss at the Finborough Theatre

Written by Fraser Grace (Breakfast with Mugabe, RSC), Bliss is based on a short story by censored writer Andrey Platonov. It’s at Finborough [Read More]

NEWS / Japanese Romeo and Juliet to the songs of Queen announced

Coming to Sadler’s Wells in September as part of its world tour, A Night At The Kabuki is a retelling [Read More]

INTERVIEW / Paul O’Donnell talks about Shoot Festival

Shoot Festival returns this year with a mix of commissioned pieces and showcases of the best of Coventry’s arts scene. [Read More]

Review / The Man who Knew Too Much at Omnibus Theatre

A packed Omnibus Theatre lapped up the entertaining antics of The Man Who Knew Too Much. Co-Director and Co-writer Olivia [Read More]

Spotlight / Inua Ellams at 05Fest Lewisham

Inua Ellams, the Albany and WE ARE LEWISHAM  presents………. 05Fest, 10 – 19 March Poetry takes front and centre stage [Read More]

Top Posts & Pages

  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Writing the Perfect Press Release
  • Fraser Grace talks about Bliss at the Finborough Theatre
  • Kim Scopes tells us about Somewhere To Belong
  • Katy Owen: Auditioning for Oxford School of Drama
  • A Streetcar Named Desire- A cry of pain- Young Vic
  • Paul O'Donnell talks about Symphony of Us
  • Crowdfunding In Theatre - An Overview
  • French's Theatre Bookshop Closing After 187 Years
  • Carmen Paddock
    Author

  • October 1st, 2016
  • comment iconNo Comments
  • Facebook51TweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2022 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!