Musical-theater favorite Jeremy Jordan returns to the boards this season as the title character in the first-ever revival and long-awaited Broadway premiere of Floyd Collins. Based on the true story of a cave explorer in Kentucky in 1925, Floyd Collins was created by Tina Landau (Redwood, SpongeBob SquarePants: The Broadway Musical) and Adam Guettel (The Light in the Piazza, Days of Wine and Roses). The musical premiered Off-Broadway in 1996, where it won the Lucille Lortel Award for Best Musical.
Now, nearly three decades later, the show is center stage at Lincoln Center’s Vivian Beaumont Theater. Spectrum News NY1 entertainment journalist Frank DiLella recently caught up with Jordan during a break from rehearsals to talk about taking on this cult-favorite musical — and what it’s like to see his résumé in lights this season in Times Square.
Congratulations on Floyd Collins. Before we dive in: Is it trippy to walk around Midtown Manhattan? Because I feel like your résumé is on display on the boards. You did the Little Shop of Horrors revival Off-Broadway; you were on the TV series Smash; you starred in the film version of The Last 5 Years; The Great Gatsby is still going strong. …
It’s bizarre and strange just looking around. I walk around and think, “I did that and that and that and that!” How old have I gotten? All these things are coming back around!
How familiar were you with Floyd Collins prior to signing on to play Floyd?
I knew of the show and heard some of the music over the years, but I had never seen it. I didn’t know a lot about it. People over the course of my career have said, “You should be in that show.” My first introduction was the audition, and they sent me the script.
I can’t tell you how many times I’ve interviewed artists and they’ve said “Floyd Collins is my favorite musical,” which I find fascinating because it’s only been performed professionally in New York — Off-Broadway — once, back in 1996. Why do you think this show is a favorite for artists?
The show is very singular. When people come to see it, the first thing they say is, “I’ve never seen anything like this.” The structure of it and the way it deals with human emotion and the way it makes you feel claustrophobic and wide open — the whole piece engulfs you. Floyd’s struggle, even though it was over 100 years ago, feels relatable and human. This guy who just wants to discover something new and make a life for himself and make money for his family and find a purpose. We all get trapped into finding those things, and Floyd gets literally trapped.
Your director and book writer Tina Landau has talked about Floyd Collins dealing with the exploration of the American dream.
Floyd is a massive optimist. Even at the beginning when he’s trapped, he’s like, “It’s going to be fine.” And you believe him. I think what connects people to that so much is that it’s easy to fall into the pessimism and negativity nowadays with the world and life, and then you see someone who is dealing with something terrible and they’re acting like it’s going to be OK. And even as the play progresses and things seem like they’re not going to be all right, Floyd still finds ways to turn it and continue dreaming and finding joy. He’s a great example for how it could be when dealing with troublesome times.
This show is based on a true story. What did you find out about the real Floyd Collins when doing research for your role?
I read a couple books about him. There are some photos. You learn about some of the characteristics of what made him tick. And then you put everything aside. You learn some of the basics — what his family life was like, the things that he loved and hoped for and dreamed of — and then [as an actor] you take the reins from there.
This show is Adam Guettel and Tina Landau’s baby. What has it been like being in the room with them?
It’s been helpful because they are older and wiser now. It makes them more firm in the things they know about the piece, but it also gives them the flexibility to be not so precious about it. It’s been a collaborative process as we unpack all of the characters in the scenes. But at the same time, I feel really protected when I am given a specific direction. They know exactly what they’re talking about; they know what works.
Tina is known for creating theatrical worlds. We see that on Broadway this season with her musical Redwood, we saw it with SpongeBob. Talk about Tina’s world with Floyd Collins at the Vivian Beaumont Theater.
This one is minimalistic. We have a giant screen on stage, but it only really is used to watch things. There are some cool moving scenic elements. Tina wants to maintain the spirit of the original piece, which was done Off-Broadway in a small house with minimal staging. So even though the Vivian Beaumont is the largest stage I’ve ever been on, it’s also the barest. There are some cool moments that we’ve created that will make you go “Wow.”
You’re no stranger to sitting at the piano with celebrated composers — Alan Menken, Stephen Sondheim … What’s it been like working alongside musical-theater genius Adam Guettel?
He’s a genius. It’s strange how dialed-in he is to music and all the little bits of it. But at the same time, he’s really kind and generous. He uses a lot of really big words. [Laughs.] His vocabulary is immense!
Did Adam write any new music for the revival?
There’s a little bit of new music, and I get to sing it.
Can we talk about the Jeremy Jordan fans? They show up in full force — always.
It’s been wild. I’ve noticed in the past few years that it’s shifted. I used to feel like little ol’ me for a while, but then a couple years ago, I think what happened, I’m old enough now that people have grown up on me. So the kids who are going to college or are just graduating, they grew up with Newsies or Smash. They grew up listening to me, and now they’re coming into their own. When I started Gatsby, I remember getting into rehearsals early on and it took a while for a lot of the younger folks to feel comfortable talking to me. I would say “What’s going on?” and they would say “Well, you’re Jeremy Jordan.” And I was like “Huh? We’re coworkers. I’m just a normal dude.” [Laughs.]
You’re part of the great Andre Bishop’s (producing artistic director) last season at Lincoln Center Theater. There’s going to be a big celebration for Andre on May 19.
It’s an honor to work for Lincoln Center. Coming in, I felt the gravity of it. It’s the most prestigious venue in the city. There’s this weight but celebration to this. And Andre has said from day one it’s been his dream to do this at Lincoln Center. It’s an honor to be a part of his send-off.