Review: WATER FOR ELEPHANTS at Proctors

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. 

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.

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.

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.

Ruby Gibbs as Barbara, the brassy-yet-kind showgirl type, is another stand out.

She’s stunning, and her featured vocals are just as mesmerizing. She brings an alluring presence, and bold serenades. Javier Garcia plays Camel, bringing a handful of soulful vocal moments. Tyler West as Walter, the knife loving circus clown, pulls out many audience laughs. The rest of the company is exceptional as well. Yves Artières, Sam Kellar-Long, and Yemie Woo all draw focus with exquisite movement quality, strength, and overall stage presence.

My personal favorite of the evening is Serafina Walker, a Kinker & Roust, and most prominent acrobat in the production. She is frequently lifted, flipped, and thrown, while tumbling, bending, and twisting. The performance is beyond advanced, and is executed perfectly. Walker is the center of attention when completing a stunt or trick, and rightfully so. I couldn’t peel my eyes from her.

The visual aspects of the show are the foremost components to making the production successful. Jesse Robb and Shana Carroll blend choreography with Carroll’s circus design flawlessly. Paige Parkhill and Antoine Boissereau are associate choreographer and associate circus designer, respectively. The movement is superb, and is tailored perfectly to convey the story. The circus elements are authentic, featuring aerial silks, acrobatics, juggling, trapeze, Chinese pole tricks, and more. Every trick and skill is spellbinding and enthralling for the audience.

Takeshi Kata’s scenic design compliments the staging and setting. The use of moveable scaffolding to create the structure of the train is brilliantly done. It’s a genius concept with a simple execution, which is exactly what is needed for a band of misfits in a traveling circus during the Great Depression. The company utilizes the set in a multitude of ways with the original direction from Jessica Stone. Stone weaves the past and present together seamlessly with the movement and general direction. Without the clever direction and scenic design, the show would be difficult to follow at moments, or details would be missed at the least.

Another visual element that was absolutely nailed are the costumes, designed by David I. Reynoso. They contain period and class appropriate elements, with circus inspiration. They are glamorous and eye-catching, tailored and constructed to perfection. The costumes shine in Bradley King’s lighting design. The lights were complex, effective, and carried out marvelously on the Proctors stage. 

The whimsical and imaginative aspects of the musical are pulled together with elaborate puppetry. Ray Wetmore, JR Goodman, and Camille Labarre’s puppet design blended with Joshua Holden’s puppet direction bring the circus animals to life. They are breathtaking and intricate, often towering several feet high, or even requiring multiple puppeteers. 

While the visual components were beyond exceptional, and the cast’s talents were abundant, I was left wanting more from the show. I didn’t find that the music sat with me, or stuck in my head as it often does after a show. I wasn’t humming any of the tunes, and I struggle to recall any lyrics. The songs sounded pleasant, and the cast performed them well, but the songwriting and lyricism was underwhelming for me.