Floyd Collins

I believe that when you purchase a ticket to a piece of theatre the performance begins the moment the audience enters the auditorium. Such is the case here.

Floyd Collins tells the tale of a relatively normal young man who whilst exploring the underground caves one afternoon falls down a hole and is trapped.  He suddenly becomes the press product of every media outlet in the country. It is a well known story and one that has the ability to resonate with the community, the nation and the world; Danny Boyle (as depicted in 127hours), the two miners who were trapped in Beaconsfield for a fortnight, Bart Simpson (a parody of Floyd Collins) it may be set in 1925 but it is a sly satire on today’s media.

Chapel off Chapel is the perfect venue for this production, given that all the seats rise up on an angle the experience from the perspective of the audience is quite extraordinary-from the back row it is like looking down into the abyss, from the front, where I was seated you were right there in the hole with Floyd. So it’s only appropriate that he make his entrance descending down the aisle stairs in an inspired directional move. Kudos must go to set designer Rob Sowinski for his simple yet extremely effective cave structure which is both imposing and beautiful and perfectly symbolizes the claustrophobic underworld, grave like atmosphere that becomes Floyd’s final days. There is also an extremely clever crevice where Floyd spends a majority of the play. My only gripe is that audience members who sit on the aisle are in clear view of the scaffolding holding it up.

I would like to take my many hats off to Octave Theatre for their continued dedication in bringing little seen or unknown theatricals to Melbourne audiences. I can safely say this was one of the most unusual subject matters I have come across in a musical. Mostly it fares very well with some very touching moments and excellent structure but the book does suffer from lack of character development and several sequences which could have easily been trimmed from its 2 ½ hour duration but thanks to an infinitely superior production and cast this seldom becomes an issue.This was truly a celebration of a feast of theatrical talent.

Director James Cutler (who from about twenty minutes into the show has himself onto my must see list) has gathered together an exceptional cast and creative team all of whom deserve the widest possible audience of aficionados to celebrate their talents. The ensemble offer great support for the entire duration, providing witty and insightful larger than life caricatures of southern puritans and hick reporters, their two big numbers Where a man Belongs  and Isn’t it Remarkable offer a respectful nod to Mr. Sondheim and some much needed comic relief.

The staging is also impeccable; the act 2 opener becomes a grotesque circus like atmosphere as the media coverage grows and grows. Stephen Valeri, Damien Calvert (also the lighting designer) and Karl McNamara are a hoot as the reporter triage. David Gardette as Lee Collins, Floyd’s puritan father once again gives a beautiful and subtle performance haunted by the ghosts of his past which he is forced to revisit when his faith is tested as his son slips further way from him. His duet with Rachel Murca (Miss Jane) Heart and Hand is a highlight. Charles Grounds as the reporter Skeet Miller is a revelation; he gracefully develops his role from an amusing archetype into a fully fledged hero and shares a wonderful chemistry with Tyson Legg as Floyd.  A recurring feature of Floyd’s character is his isolation and his inability to make a true connection with other human beings (with the exception of his brother and sister) feeling more at home amongst his cricket friends, so it’s only appropriate that he make a true friend with a man named after and looks like an insect.

Relative newcomer Rachel Conway makes an impression as Nellie Collins, Floyd’s other self and fighting the constraints of her patriarchal community with a perky smile. Though Miss Conway did suffer from pitch problems (not aided by a faulty mic which kept tuning in and out) which I’m sure can be attributed to opening night nerves.  There is a wonderful moment when Floyd duets with his echo and it becomes a recurring device to repeat the melody with Nellie.

I have deliberately left my appraisal of the leading man until last because had I begun I would have been tempted to spend my entire review rhapsodizing about his talents. This year I can not think of one more deserving of the term ‘leading man’ than Mr. Tyson Legg in this role. He is quite simply the epitome of a star and reading from his bio there is no short supply of this young man’s talents in fact I am tempted to call him the next Joel Edgeton or David Wenham.  The role of Floyd Collins gives him the opportunity to flex his chops he is at once the dreamer, the little boy, the charmer, the outsider, the adventurer, the idealist and watching him morph into hopeless abyss of the hole was quite heartbreaking to watch (your heart would have to be made of the set not to feel the stubborn release of tears in the last scene). The role is quite a big sing covering a large range which his clear tenor is more than up to the task and his presence is felt even for those long periods when he is off stage. The highest compliment I can pay him is that he manages to humanize the phenomenon. If you are to spend your money on a ticket, he single handedly makes it worth the admission price.

Costume design by Sophia Anastouisio is extremely effective, she dresses her cast in era appropriate apparel in dull muted tones that could just as well be part of the earth and applause must go for the all white variations of the individual characters in the final scene. Calvert’s lighting is extremely effective from the flickering light of the lamp to the surrealist nightmare and back again with Danielle Winthrope keeping her fingers nimble yet achieving perfect timing, I cannot stress enough how this would have affected the show’s mood had she not been on her game.

In conclusion, Floyd Collins is by far not a perfect show but it has been blessed with a top knotch crew that makes one say a quick prayer of thanks (we are in a chapel after all) that we chose to spend an evening in the company of such treasures as these.Theatre people always know how to appreciate theatre people. Brava.  

Those looking for a recommendation for pre-show dining would be wise to try out Misty’s, an American style diner with a menu so sinful it warrants several return visits (stretched out) in order to get the full experience. The waiting staff are friendly, attentive and the service timely. Also it is within reasonable walking distance to the theatre so those belts feel a little less tight. 
 

Floyd Collins runs until August 21st
 

Reviewed by Darby Turnbull. Ready or not here comes Darby. Ever since his first entrance into this world; dressed in a white tie and tails belting out there's a light at the end of the tunnel Darby has had an insatiable love for all things theatre from his pre-school days directing his fellows in elaborate revivals of the classics to belting out I am What I am in a full length taffeta gown. Lately he has been emerging himself in the local theatre scene in whatever position open to him (and he would like to deny those ugly rumours written on the bathroom wall at Western Chances Youth Arts) as performer, writer, stage manager, costume designer and unwanted opinon. Favourite productions include; The History Boys (Posner), Midsummer Night's Dream, Grease (Doody), Silent Sorrow  and of course his star turn as the sadistic nun Sister Stigmata in The Blues Brothers (the leading ladies always have more fun).