Review: WATER FOR ELEPHANTS at Broadway At The Hobby Center

Adapted from Sara Gruen’s 2006 novel (which was also a major motion picture in 2011), WATER FOR ELEPHANTS ran for 300 performances on Broadway in 2024 after premiering in Atlanta the year before. With music and lyrics by PigPen Theatre Co. and a book by Rick Elice, this national tour is scheduled to run into 2026.

The show opens backstage at a circus with an older Jacob Jankowski as the “kinkers” (circus performers) break down the tent. As he reminisces, the stage is quickly set, and the production takes off like a runaway train, literally, introducing us to the younger Jacob, who has jumped aboard following a tragic incident that has left him alone in the world.

From there, we’re on the road with the circus, meeting the rest of the performers as they set up, tear down, and dazzle us with contortion, acrobatics, and aerial silks, hoops, and ropes. We’re also introduced to Rosie, the soon-to-be dual star of the show. By the way, Rosie is an elephant.

The ensemble circus performers are incredible throughout, made up of world-trained acrobats, clowns, and true circus artists. It’s an absolute joy to watch them, and nearly impossible to keep up as they fill the stage balancing, tumbling, swinging from ropes, and balancing on top of balls. To give them their due, this ensemble includes Fran Alvarez Jara, Yves Artieres, Adan Fullick, Ella Huestes, ZaKeyia Lacey, Nancy Luna, John Neurohr, Bradley Parrish, Carl Robinett, Serafina Walker, and Yemie Woo. Some feature more prominently during the solo in solo numbers, but whether solo or together, they form a remarkably cohesive unit.

Zachary Keller and Helen Krushinski are our stars and star-crossed lovers. Keller plays the younger Jacob, who after stowing away on the circus train eventually becomes the circus veterinarian, and Rosie’s rescuer. Krushinski is Marlena, the star performer of the Benzini Brothers Most Spectacular Show on Earth, appearing alongside her horse, Silver Star. Both have beautiful voices and electric chemistry, especially evident in their duet “Wild.”

Unfortunately, Marlena is married to the ringleader and owner of the circus, August, played with villainous perfection by Connor Sullivan. He’s handsome and charismatic in front of the curtain, and ruthless and abusive behind it. Sullivan’s rich baritone both comforts and unsettles us as we watch how far August will go to keep the circus afloat. His duet with Keller, “The Lion Has Got No Teeth,” was one of my favorites in the show.

Rounding out the cast are several featured kinkers: Javier Garcia as Camel, the soon-to-be ex-manager of the circus, whose tenor is bright and clear; Barbara (Ruby Gibbs), a lead dancer who runs the “cooch tent” (exactly what you’re imagining) and boasts a thrilling belting mezzo-soprano; and Grant Huneycutt as Wade, August’s henchman and general get-it-done bully. Initially unlikeable, Wade is eventually revealed to be wrestling with demons of his own. Lastly, show-stealing Walter (Tyler West) is hilarious throughout and shines in one of the best scenes in the show as he warms up the crowd alongside August. West’s clown training is evident in his physicality and impeccable comic timing.

As with any Broadway at the Hobby Center production, this tour arrives with top-notch set, costume, and lighting design. Takeshi Kata’s sweeping sets work equally well behind the scenes and under the big top, evoking both the spectacle of the circus and the grit of the Great Depression lurking beneath it. David I. Reynoso’s costumes are especially smart, this is a scrappy traveling circus, so the performers’ looks vary rather than match, yet still feel cohesive. Marlena, August, and the dancing girls all get standout garment moments. Bradley King’s lighting design feels so innate to the production that you’re immediately transported.

The puppetry and puppet design (by Ray Wetmore, JR Goodman, and Camille LeBarre) are brought beautifully to life by members of the ensemble. Whether it’s an adorable orangutan (Nancy Luna), Marlena’s horse Silver Star—who features in two stunning aerial silks numbers performed by Yves Artieres—or any of the lions, tigers, or giraffes, the puppets are genuinely impressive. Rosie, in particular, is a marvel. Watching her quite literally come together is true theatrical art, and her full debut near the end of Act One is a delight.

Jessica Stone, credited as the original director, has kept the production impressively tight on tour. With such a large cast and numerous ensemble numbers, this show could easily veer into chaos, but the staging is thoughtful and clear, whether in intimate moments or large-scale sequences. A standout touch is the choreography used to suggest the circus train in motion, with performers bouncing and swaying in unison as they travel from town to town.

My one point of confusion involves the comings and goings of the older Jacob, Mr. Jankowski, played by Robert Tully, who does excellent work with the role. Since the story is framed as a reminiscence, he appears and disappears, sometimes joining numbers with the ensemble or interacting with his younger self. At one point, it’s unclear whether he’s actively telling the story or simply daydreaming. This is further muddled by the actors playing Marlena and August also appearing as present-day versions of themselves. It’s not a major issue, but one I hope gets smoothed out as the run continues.

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.