Easy: A Water for Elephants Review
Zachary Keller and Helen Krushinski with “Rosie” in Water for Elephants. Photo by Matthew Murphy.
The Bushnell brings Water for Elephants to Hartford. This musical production, based on the novel by Sara Gruen, tells the tale of Jacob Jankowski, a veterinary school dropout who hops a train in a quest to evade the grief of tragedy. The story is told from the reserves of Jankowski’s memories as time curates his perspectives. The elder storyteller, Jacob, played by Robert Tully, sets the stage for the young Jankowski (Zachary Keller) as he stumbles through decision-making and faux pas on the way to the present.
Water for Elephants Ensemble. Photo by Matthew Murphy.
After the loss of his parents and his home, and against the backdrop of the Great Depression, Jacob hops a train, later determined to be the Benzini Bros. Circus train. What begins as day labor with plans to dismount and move on turns into a steady gig as a vet for the menagerie, working closely with Marlena (Helen Krushinski), whose work with the injured white horse makes Jacob a necessity. Jacob is noticeably drawn to Marlena, despite her being August's (the ringmaster) wife (Connor Sullivan). As Jacob and Marlena's bond deepens, so does August's resentment of Jacob. August, an egomaniacal narcissistic boss runs a tight... Train, awarding disobedience with a forceful dismount. Tensions rise alongside Jacob's success in the transition of Marlenas act from the injured horse to Rosie, the Elephant, the newest member of the menagerie.
Krushinski is stunning, Tully is endearing, and Keller is a class act, but Yves Artières steals the show as Silver Star, Marlena’s wounded horse. Artières’ aerial silk performance is quite literally breath-taking. The ensemble creates a fun, charming dynamic that holds the production together.
The visual elements of this production are striking (Scenic and costume designs by Takeshi Kata and David I. Reynoso, respectively). The puppetry with acrobatics, particularly in the "Easy" number, creates an awe-inducing, enveloping layer that leaves audiences' jaws on the floor (Puppet Design by Ray Wetmore & Jr. Goodman and Camille LaBarre; Puppet Direction by Joshua Holden). The use of silhouettes and lighting evokes emotions, the ambiance overpowering the expositionary songs that don't all do the scenes justice (Lighting, sound, and projection designs by Bradley King, Walter Trarbach, and David Bengali, respectively).
This production ups the musical theatre ante, graduating from engaging to magical. Though the Bushnell leg of this national tour has ended, be sure to check listings for future showings in different cities—and as always, visit bushnell.orgfor news of future productions.
