Review by: Bailey Guinigundo
Photos provided by: Matthew Murphy and Ruby Gibbs for MurphyMade
(Dr. Phillips Center for the Performing Arts, Orlando FL) Tonight’s sold-out opening of Water for Elephants at the Dr. Phillips Center for the Performing Arts was a breathtaking fusion of musical theatre, circus artistry, and emotional storytelling. Running November 4–9, this touring Broadway production reimagines Sara Gruen’s beloved novel through dazzling acrobatics, evocative choreography, and moving performances that make the impossible feel vividly alive.
The show tells the story of Jacob Janowski, a young veterinary student who, after a tragic loss, finds himself aboard a traveling circus train during the Great Depression. There, he meets Marlena, the star equestrian performer trapped in a dangerous marriage to the volatile ringmaster August. As the Benzini Brothers Circus travels from town to town, audiences are transported into a world of survival, moral conflict, and forbidden love — where compassion for both people and animals becomes a rare act of courage.
Though there were no live animals, the illusion of them was beautifully realized through expressive puppetry, lighting, and imaginative staging. At times, the actors seemed to be sharing the ring with a full menagerie of elephants, horses, and lions, all conjured from movement and light. Even the train itself — crafted from scaffolding and ladders — came to life through rhythmic choreography and precise coordination, creating one of the most memorable transitions of the night.
Zachary Keller (Jacob Janowski) delivered a bold and brave portrayal of the young protagonist. His voice carried both strength and sincerity, and his chemistry with Marlena grounded the show’s emotional core. Helen Krushinski (Marlena) was radiant and tender, her solo “Easy” a standout moment of vulnerability that stilled the audience. Connor Sullivan (August) commanded the stage with intensity and precision. His performance was chilling, his charisma making it hard to look away — even as he descended deeper into cruelty. Robert Tully (Elder Mr. Janowski) brought warmth and reflection, embodying the wistfulness of memory and the wisdom of a life well-lived. Javier Garcia (Camel) was endearing and sympathetic, his kindness a beacon amidst the chaos of circus life. Grant Huneycutt (Wade) balanced intimidation with loyalty, giving his character a believable edge of rough humanity.
The production’s strength lies not only in its heartfelt acting but also in its physical storytelling. The ensemble moved with an almost acrobatic rhythm, blending dance, gymnastics, and circus performance into a single seamless experience. The Prohibition-era atmosphere was vivid — through costuming, lighting, and choreography, we were transported into a sepia-toned world where hope and hardship intertwined.
While the songs themselves may not linger in memory as traditional showtunes do, the staging and visual splendor left an indelible impression. Each scene was a work of art in motion — an intricate dance of bodies, lights, and suspended moments that made the audience collectively hold its breath.
Photos provided by: Matthew Murphy and Ruby Gibbs for MurphyMade
(Dr. Phillips Center for the Performing Arts, Orlando FL) Tonight’s sold-out opening of Water for Elephants at the Dr. Phillips Center for the Performing Arts was a breathtaking fusion of musical theatre, circus artistry, and emotional storytelling. Running November 4–9, this touring Broadway production reimagines Sara Gruen’s beloved novel through dazzling acrobatics, evocative choreography, and moving performances that make the impossible feel vividly alive.
The show tells the story of Jacob Janowski, a young veterinary student who, after a tragic loss, finds himself aboard a traveling circus train during the Great Depression. There, he meets Marlena, the star equestrian performer trapped in a dangerous marriage to the volatile ringmaster August. As the Benzini Brothers Circus travels from town to town, audiences are transported into a world of survival, moral conflict, and forbidden love — where compassion for both people and animals becomes a rare act of courage.
Though there were no live animals, the illusion of them was beautifully realized through expressive puppetry, lighting, and imaginative staging. At times, the actors seemed to be sharing the ring with a full menagerie of elephants, horses, and lions, all conjured from movement and light. Even the train itself — crafted from scaffolding and ladders — came to life through rhythmic choreography and precise coordination, creating one of the most memorable transitions of the night.
Zachary Keller (Jacob Janowski) delivered a bold and brave portrayal of the young protagonist. His voice carried both strength and sincerity, and his chemistry with Marlena grounded the show’s emotional core. Helen Krushinski (Marlena) was radiant and tender, her solo “Easy” a standout moment of vulnerability that stilled the audience. Connor Sullivan (August) commanded the stage with intensity and precision. His performance was chilling, his charisma making it hard to look away — even as he descended deeper into cruelty. Robert Tully (Elder Mr. Janowski) brought warmth and reflection, embodying the wistfulness of memory and the wisdom of a life well-lived. Javier Garcia (Camel) was endearing and sympathetic, his kindness a beacon amidst the chaos of circus life. Grant Huneycutt (Wade) balanced intimidation with loyalty, giving his character a believable edge of rough humanity.
The production’s strength lies not only in its heartfelt acting but also in its physical storytelling. The ensemble moved with an almost acrobatic rhythm, blending dance, gymnastics, and circus performance into a single seamless experience. The Prohibition-era atmosphere was vivid — through costuming, lighting, and choreography, we were transported into a sepia-toned world where hope and hardship intertwined.
While the songs themselves may not linger in memory as traditional showtunes do, the staging and visual splendor left an indelible impression. Each scene was a work of art in motion — an intricate dance of bodies, lights, and suspended moments that made the audience collectively hold its breath.
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