Review: WATER FOR ELEPHANTS at Horace High Theatre

Horace High Theatre took on an ambitious and visually demanding musical with Water for Elephants, and the result was a production filled with heart, imagination, and an impressive level of artistic maturity. Blending music, movement, puppetry, and storytelling, this show leaned fully into the theatrical possibilities of the piece, and the students rose to the challenge beautifully.

Water for Elephants is a Broadway musical adaptation of Sara Gruen's bestselling 2006 novel with a book by Rick Elice and music/lyrics by PigPen Theatre Co. It premiered in 2023 and moved to Broadway in 2024 after its Atlanta debut.

From the opening moments, the audience was pulled into the transient, rough-edged world of the Benzini Brothers Circus. The production flowed seamlessly between memory and reality, grounding the spectacle in genuine emotion while never losing the magic that makes this story so captivating.

At the center of the story was Keagen Kratcha as Jacob, who delivered a thoughtful, grounded and vocally strong performance. Keagen brought sincerity and quiet strength to Jacob's journey, capturing both the uncertainty of a young man searching for his place and the conviction that grows as he finds purpose. His vocal work throughout numbers like "Anywhere/Another Train," "The Road Don't Make You Young," and "I Choose the Ride" was clear, expressive, and emotionally connected, anchoring the narrative with confidence.

Emmaleigh Francis was radiant in the dual role of Marlena/June, balancing grace, vulnerability, and resilience with remarkable poise. Her performances of "Easy," "Silver Stars," were standout moments, filled with warmth and lyrical sensitivity. Emmaleigh's chemistry with Keagen Kratcha felt natural and deeply felt, giving the central love story real emotional weight.

As August/Charlie, Lucas Misheski delivered a commanding and layered performance. He navigated August's volatility with intensity and control, creating a character who was both magnetic and unsettling. Numbers like "The Lion Has Got No Teeth," "Just Our Luck," and "Wild" showcased Lucas's strong stage presence and vocal power, making every appearance count.

Grady Yost handled the role of Mr. Jankowski with confidence and control, serving as a reliable throughline for the production. His performances in "Shouldn't Be Surprised" and "Funny Angel" supported the storytelling effectively, adding structure and emotional grounding without drawing focus away from the ensemble.

The supporting cast added tremendous depth and color to the show. Lucy Scherbenski as Barbara delivered nuanced, grounded character work paired with particularly strong, expressive vocals that stood out throughout the production. Sara Utley was a standout as Camel, bringing humor, heart, and poignancy to "The Road Don't Make You Young" and *"Ode to an Elephant." Her performance struck an effective balance between wit and weariness, making Camel one of the show's most affecting characters.

Garrett Wells as Wade and Jaxon Stefonowicz as Walter added strong vocal and character support throughout, contributing to the ensemble's cohesion and storytelling clarity. Their work, along with the rest of the company, reinforced the sense that this was truly an ensemble-driven production.

Speaking of the ensemble, they were exceptional. From "The Grand Spec" to "Zostan," "Squeaky Wheel," "What Do You Do," and "The Dream," the ensemble moved and sang with purpose, energy, and precision. Their commitment to the physicality of the show elevated every group number and helped create the illusion of a constantly shifting circus world.

A major highlight of the production was the puppetry, designed by Katie Link. The animal puppets, including the horse, the orangutan, and especially Rosie the elephant, were thoughtfully crafted and beautifully operated. Rather than feeling like props, these creatures felt alive, integrated seamlessly into the storytelling and adding a layer of theatrical wonder that audiences clearly connected with.

Musically, the show was in excellent hands with the orchestra directed by Eric Pelletier. The score's folk-infused textures and emotional undercurrents were handled with sensitivity and strength, supporting both the vocals and the narrative without overpowering the performers onstage.

The movement and staging were brought to life through the work of Choreographer Patrick Kasper, whose choreography emphasized storytelling over spectacle while still delivering visually engaging moments. The physical vocabulary of the show felt organic, intentional, and well-suited to the cast.

Shelly Hurt-Geist's costumes captured the worn, dusty elegance of circus life, helping define each character while maintaining a cohesive visual palette. The costumes supported the period setting and reinforced the contrast between glamour and hardship that defines the world of Water for Elephants.

At the helm, Director and Production Designer Kerry Horst guided the production with a clear, confident vision. The pacing was strong, the emotional beats landed effectively, and the balance between intimacy and spectacle was thoughtfully maintained. Horst's direction allowed the performers, designers, and musicians to shine while keeping the story firmly at the center.

Horace High Theatre's Water for Elephants was an ambitious undertaking, and a rewarding one. Through strong performances, evocative design, and heartfelt storytelling, this production delivered a moving and memorable theatrical experience. It was a reminder of the power of youth theatre to tackle complex material with honesty, creativity, and impressive skill.

This is a show that stays with you long after the final note, and a production the Horace High Theatre community should be incredibly proud of.