Synopsis
Floyd Collins spent countless hours searching for his fortune underground, exploring caves in hopes of finding the next great tourist attraction in the Kentucky hills. One frosty afternoon in 1925 he discovered the most glorious cave of all – he was the first man ever to set eyes on this magnificence of creation – a glory and a wonder right up until the moment the roof caved in and trapped Floyd Collins in a narrow shaft one hundred feet underground.
Family and friends launched rescue attempts and Floyd Collins’ plight turned Cave City, Kentucky into the first American “media circus.” Newspapers, radio stations and movie makers flooded in to cover the drama. Ordinary citizens visited in droves, creating a carnival atmosphere where hawkers’ fortunes were made and lost. All the while, Floyd Collins remained trapped in the dark and the cold, pleading with his rescuers to bring him out alive.
Info
CAST presents the Regional Premiere of Floyd Collins, a full fledged musical production featuring our very own “underground orchestra.”
Performances are April 12 through May 12
Thursday, Friday, and Saturday evenings at 8:00 p.m.
Select matinees at 2:30 p.m.
No late seating.
This show contains adult language.
Reviews
Charlotte Observer: Director Michael Simmons uses his small space wisely in CAST’s first musical. The dimensions of the theater mean no one has to be miked, and we can see every corner of the set. Yet the show doesn’t feel cramped or static, even when all 16 actors turn up at once. Simmons gets help from layered, sometimes eerie sound designed by Sean Kimbro. We really can persuade ourselves, if we give free rein to our imaginations, that we’re in a cave with a man trapped by a boulder – and his own ambition.
Creative Loafing: With a first-rate cast directed by Michael R. Simmons, CAST is definitely ready for this first foray into song. Jonathan Elliott Coarsey masters all the musical difficulties — and endurance challenges — of playing Floyd in a performance that eclipses his portrayal of the American champion in last summer’s Chess. After his delightful outing as the sickly boy in The Borrowers, Daniel O’Sullivan matures slightly as the picayune Skeets. I was constantly charmed by Barbara Wesselman’s quaint costume designs, but Skeets’ deer-stalking suit was a special favorite.
Arts a la Mode: Musical director John Coffey and his musicians do an excellent job with the intricate musical score by Adam Guettel (grandson of composer/theatre legend Richard Rodgers). It includes about twenty songs in a distinctive American style. Unlike other modern musicals where music seems to be added because they need a song at certain points, the music here is totally integrated as part of the narrative. The music isn’t melodic, and in fact, has a fair amount of dissonance making the audience “feel” Floyd’s terrible dilemma. The various musical themes are woven throughout. If you listen to the lyrics they are random phrases, and in fact are the playwright’s way of communicating the inner thoughts and feelings of the characters.
A truly remarkable experience. Definitely something new and different, and yet just so stunning, and memorable. I haven’t been able to start thinking about it… It has stayed with me and I just cannot stop thinking about all of the brilliance that was put into the production. I’m going to have to see ‘Floyd Collins’ again… Just so good.