Water For Elephants – Disappointing
Sara Gruen’s 2006 novel, Water for Elephants contained universal themes: community, love, surviving grief, abuse – of both people and animals, retribution. That it’s set in the appealing milieu of circus gave readers a look behind the curtain of childhood fantasies. The book was psychologically gritty, captivating, and extremely popular. (A film deservedly tanked.) Anticipation for a live version was high.
A production that augments its storytelling with excessive visual novelty is likely unsure about its material or pandering to vapid, mass market entertainment. Here we have a dozen circus acts constantly pulling attention from plot instead of more subtly creating atmosphere.
Grant Gustin (young Jacob) and the Company
Jaccob Jankowski (Gregg Edelman, who should be made to look older for the role) leaves his senior living facility against rules to visit a circus where he spent pivotal years. The wonder on Edelman’s face is marvelous. Encountering young owners June and Charlie (Samantha Gershman and Paul Alexander Nolan), he relates his story, occasionally walking through it.
1931. The Depression. When Jacob’s (Grant Gustin) parents die in a car crash, he loses the house to a bank, quits veterinary school and hops a train that turns out to belong to down on its luck Benzini Circus. Alcoholic old-timer, Camel (Stan Brown), clown Walter (Joe De Paul) and head roustabout Wade (Wade McCollum) tell him in no uncertain terms to get out. The show can ill afford another mouth to feed and he’s clearly not “one of them.”
Grant Gustin (Jacob), Stan Brown (Camel)
Camel takes pity on the young man and offers a single day’s work. On the grounds of their next stop, Jacob observes Marlena (tonight, an excellent Samantha Gershman) caring for one of her Liberty Horses (those that drill, walk on their hind legs, etc.). Playing the horse, acrobat Antoine Boissereau performs an aerial silk act, then lays his head in her lap. Jacob volunteers a medical diagnosis with which Marlena agrees. Her husband, owner/ringmaster, August (Paul Alexander Nolan), needs his star act back in the ring. He grudgingly hires Jacob to be circus vet. Without a plan and drawn to Marlena, Jacob stays despite surrounding animosity.
The animal has a broken bone and must be put down. In a rare moment of sensitivity, August realizes he worked the horse too hard and that his wife is suffering. As Silver Star must be replaced, the circus looks for another trained horse, instead buying Rosie, a recalcitrant elephant. August tries beating her into submission. Jacob, who is Polish, inadvertently discovers the pachyderm’s last owner spoke to her in their common language which opens the door to cooperation. The act is a sensation.
Marissa Rosen, Gregg Edelman( older Jacob), Taylor Colleton, Sara Gettelfinger (Barbara), Joe De Paul (the clown Walter) and Stan Brown (Camel)
Marlena and Jacob bond. August jealously loses his temper. The young man makes an effort not to cross lines, but sees how poorly she’s treated. Push/pull of this relationship drives narrative. Artistes warn Jacob everyone’s livelihood depends on his behavior. The center doesn’t hold, of course. There’s violence and disaster. Love wins – leaving rubble.
Music and lyrics by Pigpen Theatre Co. are what one might imagine being produced by a committee.
There are perhaps two palatable songs. Melody escapes these writers, complicated lyrics are wedged in. Sustaining point of view is absent as is any indication of period and little of circus atmosphere.
Paul Alexander Nolan
Director Jessica Stone fills the stage with so much (repetitive) acrobatics, distracting even the most emotional moments, the otherwise moving story has only jerky, parenthetic, emotional effect. August’s abuse of his wife is minimal, his abuse of Rosie unseen. Murder is glossed over. A long, long segment depicting the disaster is diluted by special effect. Perhaps Stone has no confidence in a script (Rick Elice) that homogenizes the dark underbelly of the book in an attempt to make it family friendly. Certainly she supports the latter with gymnastics.
Choreography (Jesse Robb and Shana Carroll) doesn’t get much time against circus acts. What little we see is lively and fun.
Isabelle McCalla (Marlena), Grant Gustin (young Jacob)
Puppets or should I say – apart from Rosie – puppet heads by Ray Wetmore/ Jr. Goodman/Camille Labarre look like carnival costumes instead of stylized menagerie animals. The art has attained a high bar on Broadway, but these come nowhere near reaching (the zoo from The Life of Pi, the Cow from Into the Woods). Rosey is an exception, though the concept of introducing her with isolated body parts doesn’t work. Shadows and glimpses would’ve done nicely until the reveal.
Scenic designer Takeshi Kata’s effort to show an unprosperous circus results in dull visuals. The big top is flimsy, unevocative. One can’t help but compare it to the spectacular tent raised in Leap of Faith. Open train cars (and uniformly rocking passengers) give us an effectively wide view. David Bengali’s projected skies offer enchantment we see nowhere else.
Costumes (David Israel Reynoso) lack even tawdry glamour ostensibly until circus fortunes turn. Reynoso does get points for not exposing too much flesh as setting is the 1930s.
All the leads have superb voices. As August, Paul Alexander Nolan’s mercurial eruptions and bravado lend palpable danger to the role, but seem kept in check by Stone. Grant Gustin’s young Jacob, also restrained, is less stirred by love or fury than apt to behavior. Innocence and watchfulness, however, are adroit. Gregg Edelman – older Jacob – manifests beguiling nostalgia and pain that might glue the piece together without so much diversion.
Samantha Gershman (Marlena), seamlessly stepping in for Isabelle McCalla, is a nuanced, sympathetic performer – as believably stubborn and resigned as she is sweetly devoted to her animals. Gershman also does a graceful turn on the trapeze.
Wade McCollum’s Wade epitomizes volatile temper, bitterness, and vulnerable self hatred. If only the script gave him more exposition, we’d better understand the vivid qualities. Eve Arden look-alike Sara Gettelfinger (Barbara) plays too self-consciously to the audience. Stan Brown (Camel) is completely real.
There are fine parentheses, but the musical Water for Elephants only hints at darkness, poignancy and magic.
Photos by Matthew Murphy
Opening: Paul Alexander Nolan (August), Isabelle McCalla (Marlena), Grant Gustin (young Jacob)
Water For Elephants
Book by Rick Elice
Music and Lyrics by Pigpen Theatre Company
Based on the novel by Sarah Gruen
Directed by Jessica Stone
Imperial Theatre
249 West 45th Street
