This is a magical adaptation based on Sara Gruen’s book – but it does feel as though it has softened down the edges of the darker side of the story.
Having fallen in love with Sara Gruen’s book and the film starring Reese Witherspoon and Robert Pattinson, I was curious to see how this beautiful story set in a circus during the Depression era would work on stage. On leaving the Imperial Theatre, I was satisfied on many level – but did feel as though it had toned down on the tension and drama that unfolds, particularly when the love triangle situation comes to a head.
The story follows that of Jacob who finds himself unexpectedly joining the circus and leaving behind his home and starting a new life as the unofficial (he didn’t pass his exams) vet at the Benzini Brothers famous circus. As he settles into life, he meets the charming but equally dangerous circus master August, whose marriage to performer Marlena becomes on increasingly shaky ground as she and Jacob begin to get closer.
Directed by Jessica Stone, there is a wonderful sensitivity to the way in which the story unfolds, matching the novel perfectly in many ways but can equally rush through some of the more important moments and develop our understanding of the characters and relationships. In all honesty, this feels more down to the number of songs that are featured that doesn’t allow the story as much room to breath which in turn dials back the tension and drama.
This is not to be said that the music and lyrics by Pigpen Theatre aren’t beautiful to listen to with their folksy quality, songs such as ‘The Road Don’t Make You Young’ and ‘zostań’ proving to be real highlights. There is a genteel, heartfelt nature to songs such as ‘Easy’ and ‘Wild’ that capture the nature of the feelings of the character and are able to captivate the audience beautifully.
But where the production really shines is the choreography, with its gymnastic stylings that is so creative throughout, adding to that feel that we really are in the circus. The precision and flexibility of those bringing to life Jess Robb and Shana Carroll’s dazzling work is mesmerising to watch. Takeshi Kata’s scenic design is perhaps a little bit more understated and rustic than expected – just feeling a little too understated but in turn allows the choreography to take centre stage by having more space and ease of movement.
The cast themselves do real justice to the characters. At the centre of it all, Kyle Seig is a wonderfully sensitive Jacob but showcases his development and strength as the story unfolds really well. Isabella McCalla showcases an incredible range vocally and while her character might seem vulnerable on the surface she is also able to capture the inner strength that requires her to put up with August’s behaviour. Paul Alexander Nolan as August is suitably chilling throughout it all, compelling to watch as the character’s unpredictable nature comes higher to the surface.
Perhaps it is not the most glitzy musical on Broadway at the moment, but what Water For Elephants does have is understated charm that keeps the audience thoroughly invested in what is unfolding from start to finish. It just would have been stronger if the drama and tension hadn’t been toned down.
By Emma Clarendon
Water for Elephants continues to play until the 8th December.
Rating: ⭐⭐⭐⭐