by Stephen Dubois

The Pigpen Theater Company, known for its collaborative approach that merges original music, inventive stagecraft and puppetry, is only credited for the score and lyrics but, their creative spirit certainly inspired this stunning production of Water for Elephants.  From the opening scene to the heartfelt closing, this was musical theater at its finest and the jewel of Shea’s ’25-26 season thus far.  The staging was at times jaw-dropping, the acrobatics on point and the massive animal puppets were believable.  Based on the best-selling novel by Sara Gruen, the story follows Jacob Jankowski who joins a traveling circus while still grieving the loss of his parents from a tragic car accident and overwhelmed from his crumbling finances and breaking from his education.  This veterinary student escapes from everything in his life to have a fresh start.  What follows is a journey of self-discovery, tragedy, love and a hopeful promise of a new life not just for himself but the others (both human and beast) for whom he enriches with his presence.  The story is told both from the perspective of elderly Jacob recounting the events of the past and young Jacob living them in the moment.

I have dear friends who never like to listen to something they have not yet seen.  I’m the opposite.  The very moment a new Broadway cast album drops, I am devouring it and I have been enjoying this music since its 2024 release.   Therefore, I went in knowing all the songs.  And let me tell you the music is wonderful: immediately sounding new yet also familiar with a rustic Americana, folk, bluegrass and Vaudeville styling that fits this depression era setting so perfectly.  The melodies in the ballads are gorgeous: articulated with complex and delicate arrangements and performed with enthusiasm from a cast that obviously resonates with these songs.  You feel their hearts every time they sing and they have fully embraced this score.  But even more so the voices would shape the sound with formant tuning to carry the emotion further and further.  I am in awe of this score and so much of that was cemented by the way it was performed by this cast.  Sharing the role of Jacob (young and elderly) Zachary Keller and Robert Tully were both outstanding.  Helen Krushinski as Marlena has one of the warmest and richest voices I’ve ever heard in a touring production.  The villain, August, played by Connor Sullivan had a particularly challenging role because his character does so many despicable things yet we have to find a way to forgive him at the curtain call.  Tyler West as the lovable clown, Walter, often stole the show especially in the circus performance with August as Ringmaster.  The acrobats took our breath away with their feats of strength and balance. 

The set had a few large scaffolding pieces on wheels that represented multiple elements:  most often the train cars.  A very high-res projection screen carried the backgrounds beautifully while a rich royal blue curtain and illuminated frame surrounded the stage.  Peppered in between were the big top and the circus performance scenes.  There was always a balance of spectacle and quiet moments of searing tenderness from the score. Somewhere at the crossroads of The Lion King, War Horse and Life of Pi, the animals took on a life of their own and, since they were so vital to the story, they needed to be convincing.  Many of them were partially realized (just heads and necks) but the elephant, Rosie, was one of the few that was complete – eventually…I don’t want to spoil her reveal.  You quickly stop seeing the puppeteers, however, and focus only on the animals they bring to life.  Sometimes this is done with interpretive dance and acrobatic work.  Other times through shadow play from behind the curtains.

The story might not resonate with everyone, and hearing the music for the first time might not seal the deal on how special it is, but I encourage people to revisit the cast recording, nonetheless.  For me this show checked multiple boxes from set, performance, staging, choreography, lighting, and especially music.  I will also add the sound was outstanding, which we know can sometimes be an issue at Shea’s.  Everything was very clear.  Water for Elephants is a little over 2.5 hours with an intermission and is playing through Sunday evening, April 19, at Shea’s Performing Arts Center and tickets are still available for most showtimes at http://www.sheas.org.  Step right up, folks, the big top awaits.