Since Sara Gruen’s historical fiction novel, released in 2006, audiences have been treated to her folksy story “Water for Elephants,” about a circus menagerie during the Great Depression, in a few forms.
This week at the San Diego Civic Theatre, local fans can see a musical version of Jacob Jankowski reminiscing about dropping out of Cornell after being orphaned, then hopping a train, where he happens to find work as an exotic animal veterinarian for the traveling circus.
Despite the musical’s sad, but charming premise, the story descends into adultery, murder and a stampede. (Hey, it’s not a spoiler if the book has been out for two decades!)
Much like the traveling Benzini Brothers Circus, the national tour of “Water for Elephants” is here for a few nights only. That true-to-life aspect of the performance makes it, in my opinion, the best way to engage with Gruen’s work.
No matter her skill as a writer, I’m uninterested in detailed descriptions of the hungry and abused animals. Instead, we can skate over big cats trapped in cages with the song “The Lion Has No Teeth.” And the puppeted animals on stage, masterfully embodied by the ensemble, bring whimsy to what could just be depressing.
The film, meanwhile, had mixed reviews due to the lack of chemistry between Robert Pattinson, as the kind-hearted, naive Jacob, and Reese Witherspoon, who played the older animal trainer trapped in a marriage with the controlling circus owner August.
The pair are supposed to bond as they train middle-aged elephant Rosie, spurring August’s jealousy. In this cast, Zachary Keller and Helen Krushinski played the tragic lovers careening between ill fates and a hopeful future.
Plus, unlike the 2011 film, audiences viewing the musical know that the feats of acrobatics on stage are being done in one take. These are real human skills that performers have honed through a lifetime of work to entertain their audience, and they’re showing them night after night, no matter the wear on their bodies. The aerial silks, trapeze, adagio, corde lisse and Chinese pole also give the feeling of actually being at the circus.
Circuses are supposed to be a spectacle, so they are uniquely suited to the musical medium, with the bonus of singing and a plot. The barn-raising song “The Road Don’t Make You Young” is a particular favorite. The musical was adapted by writer Rick Elice with music and lyrics by Pigpen Theatre Co.
Unlike the circuses in town this fall (Ringling Brothers is back after 11 years), “Water for Elephants” offers a behind-the-scenes look at the “kinkers” (performers) and road crew as they travel by train across a country struggling to afford fun. That part at least might be true today too.
The night I attended, several actors were shuffled around as Connor Sullivan, who typically plays the charming-on-the-surface ringmaster August, was replaced by John Neurohr as the show’s tempestuous villain. Neurohr is easily believable as a charismatic character hiding a sinister streak, helped along by the fact that he resembles a modern villain, Andrew Tate. Although thankfully for Neurohr, costume designer David Reynoso had him in more flattering threads than those for which Tate is known.
By the way, Reynoso is based in San Diego and his costumes, which blend the wear of the Great Depression with the illusion of camp for its performers, earned him his first Tony nomination.
The scenic design from Takeshi Kata, along with circus design by Shanna Carroll, choreography from Carroll and Jesse Robb, projection design by David Bengali, puppet design from Ray Wetmore & JR Goodman and Camille Labarre, hair and makeup from Luc Verschueren and Campbell Young Associates, and sound design by Walter Trarbach, all made for a decadent treat on stage.
Jessica Stone directed the original production, before taking a position as the artistic director for La Jolla Playhouse, with Ryan Emmons directing the tour alongside fight director Cha Ramos, puppet director Joshua Holden and music director Sarah Pool.
Purchase tickets for the scrumptious show at broadwaysd.com.
