Water for Elephants Masterfully Blends Storytelling and Circus Arts

Zachary Keller, Helen Krushinski, and Ella Huestis in Water for Elephants. Photo by Matt Murphy for MurphyMade.

There are some novels that seem as if they’d be impossible to turn into musicals, and Water for Elephants, written by Sara Gruen, is one of them. After all, it’s a sweeping story, filled with massive circus animals and a shifting timeline. But, then again, not everybody has the imagination and vision of Rick Elice and the PigPen Theatre Co, the genius minds behind the recent Broadway musical, which shares the same name as the novel. With Elice, a four-time Tony Award© nominee, writing the novel-based book and touching music and lyrics by PigPen Theatre Co, the result is a poignant production packed with unexpected visual delights. And now, through December 21st, audiences can enjoy this tale of wonder and wanderlust at the Durham Performing Arts Center (DPAC). The North American Tour features flawless direction, based on Jessica Stone’s original direction, by Ryan Emmons and all the heart, energy, and surprise of the Broadway production.

The musical’s story centers on Jacob Jankowski in both his younger (Zachary Keller) and older (Robert Tully) forms. When the older Jacob, referred to as Mr. Jankowski, goes to visit a traveling circus, a nice respite from his life in an assisted-living home, he’s bombarded with memories of his youth and his fleeting time with the Benzini Brothers Circus. As he recounts his past to two circus workers, Charlie and June, they morph into the people he knew back in 1931: August, the circus’ cruel ringmaster (Connor Sullivan) and Marlena, August’s wife (Helen Krushinski).

From that point on, Jacob’s past plays out in real time, with only occasional slips back into the present and a few hauntingly beautiful moments where both periods co-exist. Each seamless transition happens gracefully, creating a suspended, floating-in-time feel that has all the sensory qualities of nostalgia.

As young Jacob reveals his traumatic past and finds his place caring for the circus animals, his feelings, including feelings for Marlena, come alive again. And, while their blossoming romance is a central part of the story, Elice’s book also highlights the “found family” of the circus, making it a place where people who have lost their way come to feel a sense of home. Shana Carroll’s elaborate-but-cozy circus design further emphasizes this theme, as does Elice’s thoughtful dialogue and Emmons’ close-knit staging.

Though he’s initially not accepted and even urged to run away, Jacob ultimately forms close bonds with two circus workers: the jaded but kindhearted Camel, delightfully portrayed at opening night by lovable understudy Chris Carsten, and the puts-up-a-tough-front Walter, portrayed by a funny and endearing Tyler West. Their bonding moments are some of the show’s most touching and later lend themselves to real emotional impact. 

Also impactful (and unforgettable) is the careful, clever implementation of circus arts. Jesse Robb and Shana Carroll’s choreography includes everything from acrobatics to pole dance and aerialism, yet their incorporation never feels like mere spectacle. Instead, they are presented as exactly what they are: art forms that evoke feeling and create a sense of place. As Krushinski beautifully delivers the soulful song “Easy,” a gorgeous, ethereal aerial silk routine complements and punctuates each lyric. Here, the cirque arts are used tenderly, but, later, they are wild, loud, and frenzied, bringing to life the chaos and don’t-know-where-to-look energy of the circus.

These visual displays become what the audience longs for, what they hope to see again, but they do not overpower the story. Viewers are every bit as invested in these characters’ lives as they are in the circus magic, reinforcing that both can co-exist and that even the most incredible setting is still secondary to the uniting force of human longing.

Between acrobatics, shifting roles, and puppeteering, the cast has a heavy load to bear, but they handle it with aplomb. Krushinski, who shines with radiance, and Keller, who deftly juggles both his character’s hurt and naivety, share an innocence-tinged chemistry and powerful vocal skills. Tully, as Keller’s older counterpart, is both somber and winsome, the fire sparking in his eyes as he recounts a past memory. And, though Sullivan has a villainous role to play, he, like both versions of Jacob, displays incredible duality. His character exudes showmanship, but to put it in the vernacular of the show, “The Lion Has Got No Teeth.” His character is not what he seems, and Sullivan’s charming-but-slimy performance shows viewers exactly why someone would fall for August . . . and exactly why they’d want to run away.

“Animals” act as characters here too, and no one stands out more than Rosie the elephant. Puppet director Joshua Holden and five talented puppeteers (Ella Huestis, Bradley Parrish, John Neurohr, Carl Robinett, and Grant Huneycutt) bring her to life, revealing her full and glorious form only in the second act. Rosie, like the show’s other puppets, which include a gorgeous horse named Silver Star (Yves Artières) and a roaring lion named Rex (Adam Fullick), is masterfully designed by Ray Wetmore, JR Goodman, and Camille Labarre. Each puppet is wonderfully detailed and realistic with little touches, such as Rosie’s long eyelashes, that add real character and gentleness to their faces.

PigPen Theatre Co’s lyrics tie all of these seemingly disparate pieces together and allow this story of love and ethics to shine in all its glory. Their lyrics, especially in numbers like “Wild”  and “The Road Don’t Make You Young” are emotionally effective, yet they’re not overwrought. While many a musical is guilty of repetitive songs that act as filler, this one uses more deliberate, purposeful lyrics that move the story forward and reveal character, instead of just feeling alone.

Ultimately, Water for Elephants is rare in many ways. It weaves circus arts and classic storytelling into an incredible tapestry and plays on both the imagination and the heart. It reflects on the mistakes of the past while urging viewers to live in the present and “choose the ride.” In short, it is art, and it is wonderful.

-Susie Potter