This story was originally published by ArtsATL.
From the mid-19th century into the 20th century, the circus was one of the most popular forms of entertainment in America. The exotic animals, freak shows and death-defying stunts drew the masses.
This is the life that Jacob Jankowski (Ryan Vasquez) enters in the world premiere of the musical version of “Water for Elephants,” onstage at the Alliance Theatre through July 9.
Directed by Jessica Stone, the musical is set up as older Jacob — Mr. Jankowski (Harry Groener) — reminisces about the adventures of his younger self, a conceit that’s executed with varying levels of success. After younger Jacob’s parents are killed in a car accident, he hops a train hoping to outrun his grief. He finds himself in the caboose with the Benzini Brothers Circus as it makes its way across the country.
When the ringmaster, August (Bryan Fenkart), finds out he has veterinarian skills, Jankowski becomes an essential part of the company. However, when Jacob falls for Marlena (Isabelle McCalla), August’s wife, the sideshow becomes the main act.
“Water for Elephants” is a triumph from a technical perspective. Lighting designer Bradley King, projections designer David Bengali and set designer Takeshi Kata are a dream team in the execution of this production. Through the use of rolling platforms, rhythmic lighting and moving projections that depict the landscape, they create the effect of a moving train.
The way they show the passage of time through the pale blue at dawn to the vivid pink sunsets is subtle but completely effective. The formation of the circus tent using white silks piped with lights and anchored by an aerial hoop is absolutely brilliant. They deserve to take a bow with the cast during curtain call.
This is an ambitious show with Broadway on the brain. And Stone, whose Tony Award-winning production of “Kimberly Akimbo” is currently on Broadway, creates some lovely moments onstage. The train-jumping scene and the final circus scene truly dazzle. Shana Carroll’s circus design and Camille LaBarre’s puppetry design for the animals captures the way that lions, leopards, orangutans and even an elephant, Rosie, move in a way that feels lifelike.
Credit: Courtesy of Matthew Murphy
Credit: Courtesy of Matthew Murphy
LaBarre’s puppets meet Jesse Robb’s and Carroll’s fearless choreography to offer spectacle times a thousand. As a founding member of the Montreal-based company The 7 Fingers, Carroll is no stranger to circus choreography, and a signature style is certainly evident in this production. Every bit of the stage is used, even if at times I held my breath hoping someone wouldn’t come crashing down from the ceiling.
It helps that this gifted creative team is working with a cast of performers, many of whom have physical theater and circus experience. When Jacob hops the train, he meets a gaggle of aerialists, singers, jugglers and clowns who frankly steal the show.
Joe De Paul is hilarious as Walter, the circus clown. Kudos go to Gabriel Olivera de Paula Costa, who is flipping and jumping from start to finish. And Isabella Luisa Diaz and Carolina Kane display their talents as “triple threats” — actors, singers and dancers — in this production.
Credit: Courtesy of Matthew Murphy
Credit: Courtesy of Matthew Murphy
Even with all the spectacle, Rick Elice’s book and PigPen Theatre Co.’s music and lyrics leave a lot to be desired. “Water for Elephants” is based on the 2006 bestselling novel of the same name by Sara Gruen that was adapted into a 2011 film.
The gaps in the musical’s storytelling may reflect holes in the novel, but they certainly could have been filled in.
In the musical, the opening number is a bit too long and doesn’t offer much information about the characters. By the end of the show, we still don’t know how or why most of the cast joined the circus. At one point, Marlena sings an ode to her horse, but their relationship hasn’t been established firmly enough for the audience to understand what’s happening. McCalla as Marlena is charming and does what she can, but the sentiment falls flat without anything underneath it.
Songs such as “The Lion Has Got No Teeth,” “Just Our Luck” and “Squeaky Wheel” stand out with Matt Hinkley’s musical direction, but they don’t exactly move the plot forward. The lack of information makes the show drag and lag from the end of the first act to the middle of the second act.
The team also tries to sneak in commentary about animal cruelty in the circus industry, such as extracting lion teeth, feeding rancid meat to the carnivores and overworking the defiant 56-year-old elephant named Rosie. However, that commentary is quickly glossed over in favor of flips, kicks and high-flying stunts.
Though McCalla and Vasquez have great chemistry, it’s unclear what Jacob and Marlena like about each other.
At one point in the musical, August says that all you need for a successful circus is a bit of luck and illusion. The creative team behind “Water for Elephants” certainly succeeds at the illusion and fantasy part.
It’s an up-tempo, family-friendly show that attempts to blend Cirque du Soleil, Barnum & Bailey and musical theater. With any luck, this musical will find its footing and make it under the big top — or perhaps on Broadway.
THEATER REVIEW
“Water for Elephants”
Through July 9. 7:30 p.m. Tuesdays-Thursdays and Sundays. 8 p.m. Fridays-Saturdays. 2:30 p.m. Saturdays-Sundays. $10-$93. Alliance Theatre, 1280 Peachtree St. NE, Atlanta. 404-733-4600, alliancetheatre.org.
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Kelundra Smith, an ArtsATL editor-at-large, is a critic and arts journalist whose mission is to connect people to cultural experiences and to each other. Her work appears in The New York Times, ESPN’s Andscape, American Theatre and elsewhere. She is a member of the American Theatre Critics Association and the Society of Professional Journalists.
Credit: ArtsATL
Credit: ArtsATL
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