The circus is coming to town in more ways than one with Water for Elephants making two Southern California stops in late summer and fall. The first North American tour of the Broadway musical is already in full swing at the Hollywood Pantages Theatre, where it plays through Sept. 27th before returning to the region Nov. 10th through 22nd at Segerstrom Center for the Arts in Costa Mesa.
Based on Sara Gruen’s bestselling 2006 novel, Water for Elephants follows Jacob Jankowski, whose life takes an abrupt turn after devastating loss sends him aboard a moving train and, quite unexpectedly, into the company of a traveling circus during the Great Depression. There he finds work caring for the animals, becomes drawn to equestrian performer Marlena — setting up a tense triangle with her husband, August — and is swept into a world where reinvention carries both possibility and danger. The story unfolds as the older Jacob revisits this formative chapter of his life, allowing the musical to consider not only where he once landed, but how memory changes the meaning of a life decades later.
Zachary Keller leads the touring cast as the younger Jacob, with Robert Tully playing his older counterpart, Mr. Jankowski. Helen Krushinski portrays Marlena, while Connor Sullivan takes on August, the commanding figure at the center of the circus. Javier Garcia appears as Camel, with Tyler West as Walter and Grant Huneycutt as Wade.
Yet calling Water for Elephants a musical only begins to describe what is happening onstage.
Acting, singing and conventional choreography share space with aerial straps and ropes, hula hoops, juggling, balancing, human towers and Chinese pole work — including controlled descents that stop startlingly close to the floor — often within the same sequence. The performers charged with bringing the big top to life are not simply stepping aside between songs for specialty acts. Physical feats become part of the show’s storytelling vocabulary, helping convey everything from exhilaration to vulnerability while giving the production an identity apart from a more traditional Broadway musical.
The animal characters add another layer of theatrical invention. Puppetry brings Rosie the elephant into Jacob’s world, with her expressive eyelashes proving an unexpectedly effective detail, while Silver Star, the stallion, is represented more abstractly through human movement and aerial apparatus rather than literal realism. The result is a production in which the mechanics of theater are frequently visible, while imagination is asked to complete the picture. Even with all the bodies flying through the air, the production revels in the joy of circus life without romanticizing it, confronting the cruelty inflicted on animals and performers alongside themes of grief, belonging and the possibility of starting over.
That ambitious combination earned considerable recognition when Water for Elephants opened at Broadway’s Imperial Theatre in March 2024. It received seven Tony Award nominations, including Best Musical, Best Book, Best Direction, Best Choreography and honors for scenic, costume and lighting design. The production also collected four Drama Desk Awards, including Outstanding Direction of a Musical for Jessica Stone and awards recognizing its puppetry, sound design and fight choreography.
Stone originated the Broadway staging, with Ryan Emmons directing the North American tour. Rick Elice adapted Gruen’s novel for the stage, while PigPen Theatre Co. supplies the music and lyrics. Shana Carroll serves as co-choreographer and circus designer alongside co-choreographer Jesse Robb. Takeshi Kata is responsible for the vivid scenery, David I. Reynoso the costumes, Bradley King the lighting and David Bengali the projections. Ray Wetmore and JR Goodman handle props and puppetry design, with additional puppetry design by Camille Labarre.
For audiences accustomed to musicals in which dancing remains firmly on the floor, Water for Elephants offers something decidedly less earthbound. With Marlena positioned at the intersection of the show’s romance, danger and circus spectacle, LAexcites spoke with Krushinski about the physical demands of the role, her character’s journey and what she hopes audiences carry with them after the final bow.
Marlena is both an equestrian and a trapeze artist, so you’re asked to stay emotionally grounded while also handling the circus demands of the role. What has that combination required from you that other shows haven’t?
Krushinski: I never considered myself a multitasker until this show. While I’m singing “Easy,” I have to control Silver Star’s puppet and maintain connection with Yves [Artières] while he’s in the air. There’s so much that goes into this number in order for the story to come through.
Marlena emerges as resilient, empathetic and strong. What part of her journey resonates most with you personally?
Krushinski: One of my favorite qualities about Marlena is her ability to maintain composure under extreme pressure. While she’s going through all of these trials and tribulations in her personal life, she’s able to use this to fuel her for her performances and her determination to train Rosie and make the decisions that are best for her and the circus. It’s such a gift to get to portray Marlena every day because she’s a reminder that the difficult days don’t have to define you. You’re allowed to start over.
Because the story unfolds through older Jacob’s memory, audiences meet Marlena partly through his recollection of her. Does that affect how you approach her, or do you try to keep her rooted entirely in her own present?
Krushinski: Marlena doesn’t know that she’s being portrayed in bits and pieces. I try to keep her rooted entirely in her own present because we see all the sides of her: the good, the bad, and the ugly. Jacob doesn’t portray her as a perfect person or else it would be hard for the audience to understand the complexities of what she went through.
Audiences are watching acrobatics, puppetry, music and dramatic scenes sometimes unfold almost simultaneously. From inside the production, what moment still makes you think, “How are we actually pulling this off every night?”
Krushinski: The moment that strikes me every night is right before I enter as June at the end of “The Road Don’t Make You Young.” The acrobats are climbing the pole while dancers are simultaneously executing the choreography around them. It’s a puzzle that needs to be perfect every show in order for everyone to stay safe. It’s inspiring to see everyone commit while I get to observe this “memory” from the bleachers.
What do you hope audiences are still thinking or feeling after the spectacle is over and they leave the theater?
Krushinski: I hope audiences feel the impact of community. Every show we try to convey how important it is to pour yourself and your energy into the people around you. Jacob’s story demonstrates that in your loneliest moments, there will be someone there to catch you. Literally. You just have to trust that you’re going to be okay.
Cover image caption: Zachary Keller and Helen Krushinski with Rosie the elephant in the first North American tour of Water for Elephants. Photo by Matthew Murphy.
The North American tour of Water for Elephants plays at the Hollywood Pantages Theatre from Tuesday, September 8th through Sunday, September 27th, 2026. For more information and to purchase tickets, visit BroadwayinHollywood.com.
Several weeks after the Hollywood run, the musical will return to Southern California for performances at Segerstrom Center for the Arts in Costa Mesa from Tuesday, November 10th through Sunday, November 22nd, 2026. For further details and to purchase tickets, visit scfta.org.
