I don’t know about you, but I have always preferred circus-themed musicals (say “Barnum,” the 2013 Broadway revival of “Pippin” or the film “The Greatest Showman”) over the circus itself.
As much as I appreciate the many feats of skill and wonder that are on display at the modern big top circus (especially the Big Apple Circus), I tend to get bored due to the lack of storytelling and repetition of one act after another. On the other hand, circus musicals aim to incorporate (or at least suggest) traditional circus acts in the context of an integrated story with songs, dialogue, and characters.
The newest circus musical is “Water for Elephants,” a well-meaning adaptation of Sara Gruen’s 2006 novel (which was previously turned into a 2011 film with Reese Witherspoon and Robert Pattinson), which just opened on Broadway along with several other new musicals that also happen to be based on well-known books with starring film adaptations, including “The Notebook,” “The Outsiders,” and “The Great Gatsby” – but those other shows don’t have a circus.
“Water for Elephants” follows Jacob Jankowski (Gregg Edelman) who is initially seen as an elderly man who just attended a circus performance. Then, in a flashback, Jacob morphs into his younger self (Grant Gustin) who, immediately following the death of both of his parents during the Great Depression, drops out of veterinary school, hops aboard a moving train, and joins a traveling circus, where he befriends the star performer (Isabelle McCalla), who happens to be married to the abusive circus’ owner (Paul Alexander Nolan). Along the way, Jacob, who serves as the circus vet, discovers that its newly-acquired elephant understands Polish and helps care for it.
It is a polished production, with a genuine sense of showmanship (the direction is by Jessica Stone of “Kimberly Akimbo”), dazzling circus sequences (designed by Shana Carroll), handsome choreography by Jesse Robb and Carroll (especially a show-stopping ensemble number at the top of the second act), an original score (credited to PigPen Theatre Co.) with a traditional Americana flavor, earnest performances, and puppetry effects that bring the animals to life (including Rosie the Elephant).
Although I had not read the novel or even watched the film prior to attending the show, “Water for Elephants” tackles pretty familiar and well-worn territory, including nostalgia for the early 20th century American circus (the kind of sprawling and scrappy enterprise depicted in “Dumbo”), Depression-era hardship, a love triangle arising out of a broken marriage, and a flashback structure. There is also an attempted murder scene straight out of “Hamlet.”
The story moves very, very slowly – as if to match the speed of an elephant in motion. Perhaps the creators should have tightened the show by cutting some of the circus sequences – but who would want to do that? Clearly, integrating a circus into a musical is no easy task. Speaking of which, isn’t it past time to revive “Barnum”? Now that’s one hell of a circus musical!
Imperial Theatre, 249 West 45th St., waterforelephantsthemusical.com.
