REVIEW: WATER FOR ELEPHANTS—Segerstrom Center for the Arts
Forget the Peanuts and Souvenir Programs. This Traveling Circus has something more Compelling under its Big Top: Romance, Acrobatic Audacity, and an Elephant who just might Steal the Entire Show!
NOVEMBER 11—COSTA MESA
There are circuses, there are musicals, and then there is WATER FOR ELEPHANTS, a dazzling, long-awaited theatrical hybrid that simply takes your breath away. Currently taking the stage at Segerstrom Center for the Arts, this visually imaginative roadshow transports audiences aboard a Depression-era circus train, where love, desperation, danger and a remarkable menagerie collide in a story that is considerably more complicated than simply just having sawdust in your veins.
Based on Sara Gruen's bestselling novel, the musical follows Jacob Jankowski, a young veterinary student, whose carefully mapped-out future collapses after a devastating family tragedy. With nowhere to turn, he makes an impulsive leap aboard a moving train and finds himself among the colorful, decidedly unconventional inhabitants of the Benzini Brothers Circus. There he becomes the resident animal caretaker, encounters the beautiful Marlena, a gifted equestrian performer, and discovers that her husband and ringmaster,
August, is a man whose charm is considerably less dependable than his circus wardrobe.
What follows is a tale of forbidden affection, cruelty, survival and the unlikely family that can develop among people who have precious little else to call their own. The story is narrated through the eyes of an older Jacob, lending the proceedings a bittersweet perspective on memory, regret and the possibility of beginning again. Apparently, life doesn't always issue refunds on its first act, but it occasionally offers a rather spectacular second one.
At the center of the story, Zachary Keller (“John Proctor is the Villain”) plays Jacob with the earnestness of a young man whose life has been turned upside down but who hasn't entirely surrendered his capacity for wonder. Helen Krushinski's (“An American in Paris”) Marlena provides the romantic and emotional counterweight, bringing warmth and vulnerability to a woman caught between affection and an increasingly dangerous domestic situation. Their relationship gives the spectacle its necessary human heartbeat.
Connor Sullivan's (Nat’l Tour: “Chicago”) August supplies the darker complications. His character is a volatile mixture of charisma, possessiveness and menace, a man whose public showmanship conceals a considerably less attractive private personality. Robert Tully (former Ringmaster: Ringling Bros. And Barnum & Bailey Circus) as the older Mr. Jankowski, provides the reflective thread that connects the adventure to its more poignant observations about aging and memory. Javier Garcia's (“Frozen”) Camel and Fergus Rattigan’s (“Barnum”) Walter bring welcome personality and humor to the circus company, while Ruby Gibbs (“Six”) and Grant Huneycutt (“Footloose the Musical”) add further dimension to the colorful ensemble.
The musical's greatest achievement, however, is not simply its storytelling. It's the way the production brings the circus itself to life. Rather than presenting a conventional musical interrupted by occasional acrobatic demonstrations, the creative team has integrated circus artistry directly into the theatrical language. Acrobatics, aerial work, physical comedy, choreography and puppetry become essential elements of the narrative. The performers aren't merely putting on a show within a show; they're creating an entire high-energy world before our eyes.
And what a world it is!
The production's ensemble numbers have an infectious, kinetic quality, particularly when the circus troupe is assembling its traveling home or transforming an ordinary stretch of railway into a temporary kingdom of spectacle. Bodies tumble, climb, twist and fly with an athletic precision that would make most gymnasts reconsider their career choices. The choreography by Jesse Robb and Shana Carroll, who also designed the circus elements, makes impressive use of movement, blending dance and acrobatics, aerial slings, Lyra spins, tumbling and juggling into a surprisingly cohesive theatrical experience that critics compare to Cirque du Soleil.
Then there are the animals. No, the producers haven't negotiated a special backstage arrangement with the local zoo. Instead, an ingenious collection of puppets and human performers creates the show's four-legged and feathered residents. Horses, lions, camels and other creatures become remarkably expressive stage personalities, demonstrating that a convincing animal performance doesn't necessarily require a veterinary license.
And then there's Rosie. The elephant is unquestionably one of the production's most memorable creations. Her appearance is an exercise in theatrical imagination, with multiple performers contributing to an illusion that is both technically impressive and unexpectedly affecting. The puppetry, designed by Ray Wetmore, JR Goodman and Camille Labarre, and directed by Joshua Holden, gives these creatures personality, presence and an emotional dimension that could easily upstage some of their human colleagues. Rosie, in particular, manages to make an elephant-sized impression without requiring an elephant-sized salary.
The musical's score, by PigPen Theatre Co., brings an earthy, folk-inflected sensibility to the proceedings, fitting the itinerant life of the circus and the rough edges of its Depression-era setting. Numbers such as "Easy" and "The Road Don't Make You Young" provide some of the score's more appealing musical moments, contributing to a sense of emotional authenticity.
Visually, the production is a considerable accomplishment. Director Ryan Emmons, recreating Jessica Stone's original direction for the tour, keeps the many theatrical elements moving with admirable purpose. Takeshi Kata's scenic design, David Bengali's projections and Bradley King's lighting work together to suggest the changing landscapes, skies and atmosphere of a traveling enterprise. The costumes by David I. Reynoso help establish the period without making the stage look like a rummage sale at a vintage clothing convention. Walter Trarbach's sound design completes the illusion, giving the production the atmosphere and impact its circus environment demands.
So, step right up! There are no clowns handing out financial advice and no promises that your troubles will disappear. But if you enjoy your musical theatre with a generous helping of imagination, a dash of danger, and enough acrobatics to make a chiropractor cringe in his seat, this is definitely one circus worth joining.
WATER FOR ELEPHANTS — THE COMPANY
PRINCIPAL CAST: Zachary Keller — Jacob Jankowski; Helen Krushinski — Marlena; Connor Sullivan — August; Robert Tully — Mr. Jankowski; Javier Garcia — Camel; Ruby Gibbs — Barbara; Grant Huneycutt — Wade; Tyler West — Walter. Additional CompanyYves Artieres, Chris Carsten, Gabriella Diaz, Glenn Doyle, Adam Fullick, Ella Huestis, ZaKeyia Lacey, Jose Martinez, Andrew Meier, Marina Mendoza, John Neurohr, Bradley Parrish, Carl Robinett, Summer Severin, Serafina Walker, Yemie Woo and Kayden Woodridge.
CREATIVE TEAM: Book — Rick Elice; Music and Lyrics — PigPen Theatre Co.; Based on the novel by — Sara Gruen; Original Direction — Jessica Stone; Tour Direction — Ryan Emmons; Circus Design — Shana Carroll; Choreography — Jesse Robb and Shana Carroll; Scenic Design — Takeshi Kata; Costume Design — David I. Reynoso; Lighting Design — Bradley King; Sound Design — Walter Trarbach; Projection Design — David Bengali; Hair and Makeup Design — Luc Verschueren / Campbell Young Associates; Puppet Design — Ray Wetmore, JR Goodman and Camille Labarre; Puppet Direction — Joshua Holden; Music Supervision and Arrangements — Mary-Mitchell Campbell and Benedict Braxton-Smith; Orchestrations — Daryl Waters, Benedict Braxton-Smith and August Eriksmoen; Fight Direction — Cha Ramos; Associate Choreography — Paige Parkhill; Associate Circus Design — Antoine Boissereau; Casting — The TRC Company, Claire Burke, CSA, and Frankie Ramirez, CSA; Music Director/Conductor — Sarah Pool.
NETWORKS PRESENTATIONS & SEGERSTROM CENTER FOR THE ARTS PRESENTS THE FIRST NATIONAL TOUR OF: WATER FOR ELEPHANTS—Now Playing November 10-22 in Segerstrom Hall. For Tickets, see www.scfta.org/
CHRIS DANIELS
ARTS & ENTERTAINMENT REVIEWER
THE SHOW REPORT
Comments