Review Roundup: WATER FOR ELEPHANTS North American Tour

Performances are now underway for the North American Tour of WATER FOR ELEPHANTS. Performances began on Saturday, September 27, 2025, at the Hippodrome Theatre in Baltimore, MD. Find out what the critics are saying!

The tour is led by Zachary Keller (Jacob), Helen Krushinski (Marlena), Robert Tully (Mr. Jankowski), Connor Sullivan (August), Javier Garcia (Camel), Ruby Gibbs (Barbara), Grant Huneycutt (Wade), and Tyler West (Walter).

Additional ensemble includes Fran Alvarez Jara, Yves Artieres, Chris Carsten, Adam Fullick, Nancy Gutierrez, Ella Huestis, Sam Kellar-Long, ZaKeyia Lacey, Andrew Meier, Marina Mendoza, John Neurohr, Bradley Parrish, Carl Robinett, Summer Severin, Serafina Walker, and Yemie Woo.

WATER FOR ELEPHANTS is based on the critically acclaimed and New York Times Bestselling novel by Sara Gruen. The Broadway musical has a book by four-time Tony Award nominee Rick Elice (Jersey Boys, Peter and the Starcatcher), a soaring score by the acclaimed PigPen Theatre Co. (The Tale of Despereaux), with tour direction by Ryan Emmons, recreating the original direction by Tony Award nominee Jessica Stone (Kimberly Akimbo).

J. Wynn Rousuck, Tom Hall, Sam Bermas-Dawes, Rob Sivak, WYPR: The 2024 musical, which was nominated for seven Tony Awards including Best Musical, tells the story of young Jacob Jankowski who, after experiencing a family tragedy, moves on to find a new life with a traveling circus during the Great Depression of the 1930s. The show features exciting circus acrobatics, original music, and intricate puppetry to tell its tale of love and personal survival.

Herb Merrick, MD Theatre Guide: “Water For Elephants” illustrates the heavy physical and emotional toll on the characters as they experience the exploitation and cruelty of early 20th century circus life, however that life also provides them with a home and a sense of belonging to a community. Now, as then, strength and resilience are needed to face and endure huge challenges through the collective support of shared experience.

Constance Beulah, DC Theater Arts: From the moment the musical begins, amid shifting train cars and tattered tents, there’s a strong sense of immersion. The acrobats, aerial work, juggling, and movement — these aren’t just gimmicks. They feel built into the story.

Marin Heinritz, Revue: There’s everything we want and more in a dramatic story: compelling characters, lively action, all kinds of complications and strong desires, romance, violence, and comic relief—with fantastic movement and sometimes stark contrasts between the world of performance, in the circus tent, and the dramas playing out behind the scenes.

Taylor Clemons, BroadwayWorld: The standout of the show for me lies in the staging. The acrobatics and aerial work are a sight to behold. Stunts come quickly and often, and the audience (myself included) were in awe of a lot of the feats achieved. Jessica Stone’s original direction is also really phenomenal. She takes what could be a paint-by-numbers musical and injects innovative soul into every moment, giving the show distinct character.

Deborah Bostock-Kelley, BroadwayWorld : And the puppeteer animals? Absolute beauty. Crafted with such grace and operated with such soul, they transcended mechanics and became living, breathing characters. They moved with such grace and emotion that you forgot they weren’t real. The horse (Yves Artieres), in particular, was unforgettable. The actor didn’t just operate the puppet—he became the horse. Every flick of the tail, every tremble of muscle, every glance was so heartbreakingly real that when a sad scene came to pass, tears welled in my eyes. It was devastating and beautiful.

Rod Stafford Hagwood, South Florida Sun-Sentinel: This cast (non-Equity though you’d never ever know it) walks that tightrope, performing with bravura, singing with crystalline precision and thunderous boom — somehow making it all less overwhelmingly sad through their collective charisma, the desperation and cruelty dialed down just enough to keep the edge, the cut.

Jeffrey Kare, BroadwayWorld: Under the direction of Ryan Emmons, who was an associate to Jessica Stone on the Broadway production, he pulls off such imaginative staging. The circus work designed by Shana Carroll comes off as stunning as does her choreography with Jesse Robb. Bradley King’s lighting is incredible. There’s very colorful costumes designed by David I. Reynoso. Although the puppets for all the animals are so impressive to behold. Designers Camille Labarre, Rat Wetmore, & JR Goodman truly deserve all the credit for that. Several members of the cast happen to have background working in the circus or in some cases, Cirque du Soleil. It really shows as their experience is put to good use in all the circus sequences.

Jonathan Netek, BroadwayWorld: Ultimately, WATER FOR ELEPHANTS is a thoroughly entertaining night at the circus theatre, packed with impressive artistry, strong performances, and a score full of catchy numbers like “Easy,” “Zostan,” and “Squeaky Wheel.” It balances spectacle with heart, delivering a show that’s both crowd-pleasing and emotionally grounded. If you’re looking for a good time under the big top, this production delivers. But get your tickets now, the train takes this show out of town after Sunday.

Jon Bee, BroadwayWorld: Admittedly, I didn't think all the elements meshed well together, but individually these elements were pretty incredible. The acrobatic components to the show were simply outstanding and dare I say, death defying. The puppetry was, in fact, a great complement to the acrobatics especially with regard to the presentation of Silver Star the Horse (portrayed by Yves Artieres) and Rosie the Elephant (portrayed by Ella Huestis, Bradley Parrish, John Neurohr, Carl Robinett, and Grant Huneycutt). My only real complaint, though, is that the elephant puppetry isn't fully introduced at the time Rosie comes into the show - I think we can afford to see her sooner instead of the finale of Act One.

Monica Hooper, Northwest Arkansas Democrat Gazette: The most remarkable part of the show is the circus. Joining the talented singers and dancers from the Broadway stage are aerialists who swing on hoops and glide through the air on silks suspended from the ceiling. Acrobats tumble and fly across the stage, sometimes catching each other in mid-air and other times performing daring feats to create a spectacle one would expect from a circus.

Jerrod Sumner, Minnesota Monthly: What sets this adaptation apart is its collaboration with the visionary PigPen Theatre Company. Known for their “folk-noir” storytelling and organic puppetry, PigPen’s influence provides the musical’s rhythmic and soulful backbone. This isn’t just a circus; it is a memory play where the ensemble’s movement and the ingenuity of the design create a visceral sense of wonder.

Jared Fessler, BroadwayWorld: What makes it all work is that underneath the spectacle, it still feels human. The tricks are exciting, the animals are amazing, but it never loses that scrappy, slightly chaotic circus energy. It’s the kind of show where you leave thinking about how they pulled that off — and also realizing you were way more emotionally invested than you expected to be.

Joey Morona, Cleveland.com: But all of that eye candy comes at a cost. With so much to look at, the storytelling in the music often gets lost, and it can be difficult to clock what the lyrics are trying to convey. The show is more effective as a musical when it takes a beat to quiet down and let the music breathe and the emotion come through.

Gwendolyn Kochur, Scene: Were I to evaluate each of those elements–the quiet story, the emotion-centric music and the high-flying acrobatics–individually, I could see myself agreeing with those critics who found “Water for Elephants” wanting. Yet, when evaluating the pieces that make up the whole–as a whole–there is no denying that these elements coalesce into a dazzling production.

Mark Meszoros, The News Herald: If you’ve read Gruen’s 2006 bestseller or seen the 2011 big-screen adaptation, you’re in for little in the way of surprises as the story goes. However, the creative presentation of the stage show certainly brings a new energy to the narrative.

Peyton VanDerheyden, BroadwayWorld: Review: WATER FOR ELEPHANTS at Proctors Image WATER FOR ELEPHANTS is dazzling audiences with extraordinary theatrics, creative visual concepts, and emotional moments. Adapted from the New York Times bestselling novel, WATER FOR ELEPHANTS has a book written by Rick Elice, and features a score by PigPen Theatre Co. The show is set during the Great Depression, and follows Jacob Jankowski, a veterinary student who has lost everything dear to him. With nowhere to go, he hops on the train of a traveling circus. An elderly Mr. Jankowski recalls these memories from the nursing home, with them resurfacing as the circus comes to town. He reminisces on finding a home, and love, on the road with the Benzini Brothers’ Most Spectacular Show on Earth circus group. WATER FOR ELEPHANTS is a story of forbidden love, the glamour and dark underbelly of the circus, found family, and above all else, imagination. LATEST NEWS BroadwayWorld My Shows is Now Part of the New & Improved App Franklin Stage Company Celebrates 30 Years Of Admission-Free Theater In Historic Catskills Venue Adirondack Theatre Festival Launches ATF For ALL Initiative Around The BroadwayWorld: Top News, Reviews, Interviews & More from March 2026 logo 00:01 01:11 Video: Mark Ballas and Whitney Leavitt Take First Bows... Video: CHICAGO Video: Whitney Leavitt Sets Up a Surprise Proposal... Video: CHICAGO Video: Gilbert Domally Is Crossing the Country as... Review: WATER FOR ELEPHANTS at Proctors Image The Cast of WATER FOR ELEPHANTS Photo by Matthew Murphy for MurphyMade Mr. Jankowski is portrayed by Robert Tully, and he does well in this role. He was charming, and made the difference between modern conversations and the recalling of memories clear to the audience. His younger self, Jacob Jankowski, is typically played by Zachary Keller, but was instead played by cast swing, Andrew Meier. He was successful bringing forth that charming quality. His presence was strong throughout the performance, but he was exceptional during the act two number, “Go Home” where he is caught between a dream sequence and reality. This is a huge moment for his character, with a major decision at hand, and Meier executes this flawlessly. Review: WATER FOR ELEPHANTS at Proctors Image Zachary Keller, Connor Sullivan, Helen Krushinski, and the Cast of WATER FOR ELEPHANTS Photo by Matthew Murphy for MurphyMade Connor Sullivan doubles as August/Charlie. Sullivan is exceptional as August, the ringmaster. He brings a theatrical and lively performance when the character is performing with the circus, and easily turns into a dark, manipulative individual in some of the more intimate and intense moments. Sullivan’s other character, Charlie is seen in the modern setting with Mr. Jankowski, and he carries a warm, almost nurturing quality. This doubling makes the villainous moments with August even more impactful and demonstrates great range. Sullivan’s theatrical moments as the ringmaster version of August have the same flair as Billy Flynn in CHICAGO, so you can imagine my delight when seeing that role listed in his bio. Review: WATER FOR ELEPHANTS at Proctors Image Helen Krushinski as Marlena, Photo by Matthew Murphy for MurphyMade The standout vocal performance comes from Helen Krushinski as Marlena/June. Marlena is the wife of August, and Jacob’s forbidden lover. She is a talented equestrian, and the star performer in the circus. Krushinski’s vocal stylings are unmatched. The moment between Marlena and her horse, Silver Star, played by Yves Artières, where she sings “Easy” to calm the animal is tender and heart-filled. Krushinski’s voice is angelic, with a perfect balance between rich, smooth qualities and light, melodic decoration. Her portrayal of Marlena is warm and dazzling, and she is easily a must-see performer.

Katherine Kiessling, Times Union: Perhaps the greatest triumph is the way “Water for Elephants” integrates circus arts, as designed by Shana Carroll, co-founder of the Montreal-based circus company The 7 Fingers. Sometimes, it is to weave high-flying acrobatic feats into Jesse Robb’s athletic choreography for pure spectacle. Other times, the performers are integral storytellers, such as when aerialist Yves Artières transforms an injured show horse, Silver Star, into a tender silks solo, backdropped by Krushinski’s soaring voice on the simple yet evocative “Easy.”

Michael Rabice, BroadwayWorld: This production solidly tells a story in a way that insures the audience cares about it’s human characters as much as the animals. When you feel the same sympathy for a battered elephant, a dying horse and a battered wife, you have achieved story telling at a high level. This circus story does not disappoint. Even when tragedy somehow results in a happy ending.

Average Rating: 83.7%