Water for Elephants Review by Katie Haus

On Tuesday, March 3, I attended the musical Water for Elephants at the Orpheum Theatre in

Minneapolis. The production shows creativity and ambition, using inventive staging techniques to bring

the story to life. While the show demonstrated impressive technical ideas and featured a strong lead

performance, it ultimately did not leave me with the sense of fulfillment I often experience after other

musicals.

One of the most impressive aspects of the show was its use of transitions. Directed by Tony Award-Nominated Jessica Stone, this production found clever ways to move between scenes without slowing the pacing. In particular, Marlena’s costume changes were handled seamlessly, allowing the character to shift between moments in the narrative almost instantly. Instead of feeling disruptive, these quick changes felt natural to the storytelling and helped keep the audience engaged. Another transition that stood out involved the two versions of Jacob. The story frequently shifts between Jacob as a young man and Jacob later in life, reflecting on his past. At one point, the young Jacob and the older Jacob switch places directly in the middle of the stage. As this happens, a poster is carried across the stage, creating a distraction that cleverly hides the transition. The effect was smooth and showed how thoughtful staging can make storytelling more dynamic.

The show also used a theatrical technique to mimic a moving train. Instead of elaborate sets or projections, the actors created the motion by rocking side to side in unison. For most of the performance, this worked very well and effectively placed the audience inside the world of the circus train. However, there were moments when the actors were not perfectly synchronized, which became distracting and pulled my attention away from what was happening in the scene.

The choreographers Jesse Robb and Shana Carroll truly redeemed the show with the dancing and acrobatics. Throughout the show, performers executed impressive circus-style stunts that helped bring the setting to life. At different moments, dancers swung through the air using only their heads or their feet, creating a visual spectacle that was surprising and exciting. These moments truly gave the impression of being at a circus and added excitement that set the production apart from many musicals.

The vocal performance of Zachary Keller as Jacob was another highlight. His singing was phenomenal and stood out from the rest of the cast. He carried emotion, power, and clarity, making his character feel fully realized. Unfortunately, the rest of the cast often felt flat in comparison, and their energy did not always match the strength of the lead performance.

Overall, Water for Elephants shows a great deal of potential. The creative staging, imaginative transitions, impressive acrobatics, and standout lead performance demonstrate many strong elements. However, uneven performances and occasional distracting moments prevented the show from delivering the emotional impact that many great musicals achieve. While I appreciated the creativity behind the production, it ultimately left me wanting more. Even with its flaws, the show’s creativity and ambition suggest that it could grow into a stronger production over time.