Without an impressive group of circus performers, “Water for Elephants” would be nothing more than a sideshow.
The performers are so exceptional that you often forget about the unfolding story and the repetitive songs that drive home a message.
Just when it seems like the circus is heading towards darkness, director Jessica Stone introduces the acrobats whose artistry is truly astounding. A wounded horse (played beautifully by Antoine Boissereau) highlights the importance of distraction.
Through flashbacks, a former circus employee (Gregg Edelman) narrates his journey of joining the circus, falling in love with its leading lady (Isabelle McCalla), and facing off against its cunning owner (played perfectly by Paul Alexander Nolan). Grant Gustin portrays Mr. Jankowski as a young man and delivers a strong performance. McCalla shines in her role.
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While Stone impresses with her tricks and interactions (particularly with Nolan), her greatest achievement is captivating the elephant that becomes the centerpiece of the show. A trunk here, a foot there, and you start to imagine the whole creature. However, when the full elephant is revealed (spoiler alert), it fails to live up to the show’s logo, hinting at a more impressive animal akin to “War Horse.” The puppet-designed elephant appears too cute for the show’s own good.
Similar to “Barnum,” “Water for Elephants” features a three-ring circus of activity. The circus employees, called Kinkers and rousts, are well-developed characters who could easily take on more prominent roles. Joe De Paul entertains as the clown with solid routines, while Sara Gettelfinger portrays the sassy showgirl. A subplot involving either De Paul or Gettelfinger could have added depth to “Water.”
Nolan ensures there is a villain to despise and moments to applaud. He embodies a master showman who refuses to acknowledge any shortcomings. It’s surprising that he wasn’t nominated for a Tony. He delivers a marvelous performance.
Alongside the rest of the cast, his ringmaster character keeps the circus running smoothly, even though the financial situation is dire for everyone except himself.
This version of “Water for Elephants” surpasses the film adaptation, making the story more captivating. However, the songs by Pigpen Theatre Co. could benefit from another revision. While “The Lion Has Got No Teeth” stands out, other songs don’t fully capture a “Grapes of Wrath” vibe. For example, “Easy” relies heavily on repetition.
Nevertheless, a circus without its performers would just be a tent, and Stone ensures there are plenty of awe-inspiring moments. She keeps the audience engaged with daring acts and maintains a sense of truth in each scene.
“Water for Elephants” presents a compelling case for this type of entertainment, reminding us that sometimes a little distraction can hide imperfections.
“Water for Elephants,” a nominee for Best Musical, is currently showing at the Imperial Theatre in New York.
Bruce Miller is the editor of the Sioux City Journal.
