Stranger Things: First Shadow, Floyd Collins
Louis McCartney, Stranger Things: First Shadow (Photo: Matthew Murphy and Evan Zimmerman)
By Fern Siegel (Posted 4/27/25)
Fans of TV’s “Stranger Things” have reason to celebrate.
Stranger Things: The First Shadow transforms Broadway’s Marquis Theater into the eerie world of Hawkins, Indiana — long before the events of the Netflix series.
Serving as an origin story, written by Kate Trefry, the Duffer Brothers and Jack Thorne, the play follows teenage Henry Creel (Louis McCartney), who fans will recognize as Vecna, the show’s formidable villain. The production spares no expense when it comes to special effects: fog, bursts of light, levitation and even a naval ship are memorable.
Set transitions between a war scene, a 1950s high school and a family home are seamless, using every inch of the stage to create a truly immersive experience. While visually thrilling, the prequel leans into some dark and gory moments that might not be suited for younger audiences.
The ensemble cast is mostly comprised of newcomers, but there is an uncanny resemblance in a few performers to younger versions of Winona Ryder and David Harbour, grounding the story in the world fans already know.
McCartney delivers a haunting performance as Henry Creel. The acting overall has a slightly amateurish charm, reminiscent of an actual high school play. A fitting tone, considering a school production plays a key role in the story. Chris Fisher and Jamie Harrison are responsible for stunning illusions and visual effects, 59 handled video-visual effects and Jon Clark produced dramatic and electric lighting.
With the final season of “Stranger Things” arriving later this year, The First Shadow is an exciting look at the backstory behind the Upside Down. The prequel acts as a bridge between season four and five. Director Stephen Daldry has pulled all the elements together to create an amazingly wild ride that enhances the “ST” experience.
Jeremy Jordan, Floyd Collins. (Photo: Joan Marcus)
More earthbound, Floyd Collins, the revived musical now at Lincoln Center’s Vivian Beaumont Theater, is based on a true story. In 1925, a Kentucky cave explorer (Jeremy Jordan) searches Sand Cave, hoping to capitalize on tourist interest. Squeezing through tight spaces that would discourage others, Floyd Collins’ luck runs out. His spelunking causes him to lose his footing and he becomes trapped 150 feet below.
Being trapped is a metaphor for Collins, 37, and his family, poor farmers barely scraping by. Trapped by economics, Floyd dreams of striking it rich. Older brother Homer (Jason Gotay) is eager to escape, though both he and mentally fragile sister Nellie (Lizzy McAlpine), offer whatever help they can.
It takes days to reach Floyd, but the conditions, despite assurances from engineer H.T. Carmichael (Sean Allan Krill), are dire. Drilling may dislodge an avalanche, so the mission is slow, laborious and done by hand.
But tragedy soon morphs into a media circus. Collins’ situation was the first event of its kind broadcast on the nation’s new medium: radio. And the daily drama — will they save him in time? — made national headlines. While he prayed for rescue, a carnival ensued above him.
Apparently, there isn’t any horror that doesn’t merit fireworks, souvenirs and games for a gawking public — and those eager to make a buck. However, the irony of Collins’ story is better captured in Ace in the Hole, the 1951 Billy Wilder movie that savaged tabloid journalism, public sensationalism and exploitation.
By contrast, Floyd Collins is surprisingly short on dramatic tension. Adam Guettel’s music is inspired by folk and bluegrass — but too many songs sound alike. Floyd does his own version of yodeling in the cave, which only adds to the irritating aspects of a structurally muddled effort. We should be far more moved by Floyd’s plight, but that’s where Tina Landau’s book falters. (Her direction secures solid performances and some moving scenes, but less engagement.)
Jordan powerfully captures Collins’ claustrophobic reality, fear and hope. Last seen on Broadway in The Great Gatsby, he has a strong voice — and many of his songs are done in a sitting position. A rare exception is the affecting “How Glory Goes.” All the leads are in excellent voice, including Marc Kudisch, who plays his guilt-ridden father. Empathetic Louisville Courier-Journal reporter Skeets Miller (Taylor Trensch), who aided the 14-day rescue operations and later won a Pulitzer for his coverage, has a touching relationship with Collins, who died of exposure, thirst and starvation.
This isn’t a traditional musical. It is a story ripe for interpretation. Here, the drama lives in Scott Zielinski’s excellent lighting and period-style silhouettes and Dan Moses Schreier’s sound. But audiences may feel trapped in a musical that, despite its sound premise, doesn’t deliver the goods.