{"id":17885,"date":"2026-09-13T14:42:27","date_gmt":"2026-09-13T21:42:27","guid":{"rendered":"https:\/\/cahighways.org\/wordpress\/?p=17885"},"modified":"2026-09-13T14:49:36","modified_gmt":"2026-09-13T21:49:36","slug":"elephants-never-forget-water-for-elephants-bih-pantages","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=17885","title":{"rendered":"🎭 Elephants Never Forget | “Water for Elephants” @ BIH\/Pantages"},"content":{"rendered":"

\"Water\"\"Think about it. How many musicals about circuses (circii?) do you know? Of course, there’s\u00a0Barnum<\/em><\/a>. There’s the upcoming stage adaptation of\u00a0The Greatest Showman<\/em><\/a> in 2027. And there’s … there’s …\u00a0Bronco Billy The Musical<\/em><\/a>? No, that’s about a Wild West Show. There’s the song “Where Does An Elephant Go?<\/a>“, but that’s not about a circus.<\/p>\n

The point is: That for as entertaining and theatrical the spectacle of a big top is, it hasn’t led to all that many stage adaptions of the form. The latest one of grace the stage is\u00a0Water for Elephants<\/em>, an adaptation of 2011 film of the same name<\/a>., which we saw last night at the Hollywood Pantages<\/a>.<\/p>\n

Reading through the movie’s synopsis, there are some slight changes from that story, but the essential beats are there.\u00a0 The essence is that the story is being told by an older Jacob Jankowski when he is visiting a local circus. It seems that, as a young man, after losing his parents to a car accident and his home to the depression, he jumps a circus train. He jumps the train of a down and out circus, and joins as their vet. They acquire an elephant, and he starts to fall in love with her trainer\/performer. The problem is: She’s the wife of the ringmaster, and he has a cruel streak. I think you can take it from there, but suffice it to say that elephants never forget how they are treated, be it with kindness or cruelty.<\/p>\n

I’ll note that I’d only seen snippets of the movie going in, and had heard the cast album, so I knew basic story beats but not the details. I really enjoyed this show, and there were\u00a0a number of things that made this show stand out for me.<\/p>\n

First (and one rarely says this) there was the pre-show music. It was some of the best New Orleans Jazz I’ve heard in a long time. I walked down during intermission and spoke to the conductor. She indicated it was pre-recorded, but would need to look up the details. I emailed subscriber services and will hopefully get them, but it was just wonderful.<\/p>\n

Second was the music. The folks behind the music and lyrics for this show, Pigpen Theatre Company<\/a>, are a surprising folk music group that does theatrical music. I won’t say all songs were hits for me, but some are just spectacular. Songs like “Zosta\u0144” or “The Road Don’t Make You Young” or “The Lion Has Got No Teeth” are just spectacular. When I got home, I jumped onto Amazon and picked up the group’s first album<\/a>.<\/p>\n

Third was the puppetry. This show makes an interesting combination of actors in costume and puppetry for the menagerie of animals, and the puppetry aspect is wonderful. From simple effects to create Silver Star, the horse; to the suggestive aspects to create the lion, to the substantial effects used to create Rosie the Elephant: it was all wonderful. This was combined with a great lighting design that utilized shadows to create even stronger allusions.<\/p>\n

Fourth was the acrobatics. We all know theatre song and dance, which for the most part is earthbound. This show brought in strong acrobatics of the Cirque Du Soleil<\/em> variety: aerial swoops and juggling and tricks and all sorts of wonderous magic. It is unlike what you see in other shows (except perhaps some of the cheers in Bring It On<\/em>).<\/p>\n

Fifth was the staging. Unlike the show that just bussed out of the Pantages,\u00a0Beauty and the Beast<\/em><\/a>, this was not a show built on projections. It was built on suggestions and theatrical magic, of the conventional, not Disney\u00ae<\/sup> kind. Rolling scaffolding became circus trains. Animals were puppets and shadows. The focus was on people and performances, not technology. This was theatre.<\/p>\n

Lastly, but not leastly, was the performances. We had circus performers (read the credits) doing a wonderful job with stage and scripted performances on top of their acrobatics. We had leads (Zachary Keller as Jacob and Helen Krushinski as Marlena) with a strong chemistry (which evidently wasn’t the case in the movie).\u00a0 Connor Sullivan was strong as the ringmaster August. I loved Javier Garcia’s Camel and Tyler West’s Walter. I also appreciated that the casting team didn’t cast with the typical slender showgirl mold in mind. The shapes were realistic, and that also made the performances a joy to watch. Just a really really strong cast.<\/p>\n

What was weak about the show? I think the story might not be to everyone’s taste, especially with the domestic violence aspects of it. Those that do evil do get what they deserve, but people you grow to like die, and people are hurt. That’s a downer for some.<\/p>\n

Would I recommend that you see the show? Yes. Forget the Disney magic of projects and Lion King puppets. This is the real thing: An enjoyable 2 hours and 2 minutes of theatrical magic that will leave you smiling through the show. Bring a sweater, it’s cold in the Pantages. For more information and tickets, see the Broadway in Hollywood\u00a0Water for Elephants<\/em> page<\/a>.<\/p>\n

Credits<\/strong><\/h4>\n

Water for Elephants<\/em>. Book by\u00a0Rick Elice<\/strong>. Music and Lyrics by\u00a0Pigpen Theatre Co<\/strong>. Based on the novel by\u00a0Sara Gruen<\/strong>. Original Direction by\u00a0Jessica Stone<\/strong>.<\/p>\n

Cast<\/span>\u00a0[underscores\u00a0indicate \u201cat our performance\u201d;\u00a0strikeouts<\/del> indicate \u201cnot at our performance\u201d; \u2191 indicates \u201cswung up\u201d]:\u00a0 Zachary Keller Jacob Jankowski<\/em><\/span>; Helen Krushinski\u00a0Marlena \/ June<\/em><\/span>; Connor Sullivan\u00a0August \/ Charlie<\/em><\/span>; Robert Tully\u00a0Older Jacob Jankowski<\/em><\/span>; Javier Garcia\u00a0Camel<\/em><\/span>; Ruby Gibbs\u00a0Barbara<\/em><\/span>; Grant Huneycutt\u00a0Wade, Rosie (an elephant)<\/em><\/span>; Tyler West\u00a0Walter<\/em><\/span>; Yves Arti\u00e8res\u00a0Silver Star (a horse) \/ Kinker & Roust<\/em><\/span>; Gabriela Diaz Agnes (an orangutan) \/ Kinker & Roust<\/em><\/span>; Adam Fullick Rex (a lion) \/ Kinker & Roust<\/em><\/span>; Ella Huestis<\/del> \u2191 Summer Severin<\/span> Rosie (an elephant) \/ Nurse Rosemary \/ Kinker & Roust<\/em><\/span>; Zakeyia Lacey Vera \/ Kinker & Roust<\/em><\/span>; Jose Martinez Kinker & Roust<\/em><\/span>; John Neurohr Caretaker \/ Rosie (an elephant) \/ Kinker & Roust<\/em><\/span>; Bradley Parrish Sal \/ Rosie (an elephant) \/ Worker \/ Kinker & Roust<\/em><\/span>; Carl Robinett Rosie (an elephant) \/ Orderly \/ Kinker & Roust<\/em><\/span>; Serafina Walker Kinker & Roust, Circus Captain<\/em><\/span>; Yemie Woo Sue \/ Kinker & Roust<\/em><\/span>; Kayden Woodrige Kinker & Roust<\/em><\/span>. Swings: Chris Carsten, Glenn Doyle,\u00a0Andrew Meier\u00a0Fight Captain<\/em><\/span>, Marina Mendoza Circus Captain<\/span>, \u2191 Summer Severin Dance Captain<\/em><\/span>.<\/p>\n

Music Department<\/span>\u00a0(🌴 indicates local): Pigpen Theatre Co.\u00a0Music and Lyrics<\/em><\/span>; Benedict Braxton-Smith\u00a0Music Supervisor, Co-Arranger & Co-Orchestrator<\/em><\/span>; Daryl Waters\u00a0Co-Orchestrator<\/em><\/span>; August Eriksmoen\u00a0Co-Orchestrator<\/em><\/span>; Mary-Mitchell Campbell\u00a0Co-Arranger<\/em><\/span>; Sarah Pool\u00a0Music Director, Conductor, Keyboard 1, Harmonica<\/em><\/span>; Cameron Edmiston\u00a0Assoc Conductor, Keyboard 2<\/em><\/span>; Hope Chernesky\u00a0Violin, Concert Master<\/em><\/span>; Tristan Shafran\u00a0Reeds<\/em><\/span>; Cort Baussmann\u00a0Trumpet<\/em><\/span>; Millisa Henderson\u00a0Guitars<\/em><\/span>; Bakari Williams\u00a0Acoustic\/Electric Bass<\/em><\/span>; Spencer Inch Drums, Percussion<\/em><\/span>; 🌴 Jeff Driskill Flute, Piccolo, Clarinet, Bass Clarinet, Alto Sax, Bari Sax<\/em><\/span>; 🌴 Aaron Smith Trumpet, Flugelhorn<\/em><\/span>; 🌴 Dan Lutz Acoustic Bass, 5-String Electric Bass<\/em><\/span>; 🌴 Eric Heinly Orchestra Contractor<\/em><\/span>; \u00a0John Mezzio Music Coordinator<\/em><\/span>;\u00a0 Randy Cohen \/ Randy Cohen Keyboards\u00a0Keyboard Programming<\/em><\/span>; Sam Starobin, Drew Nichols, Nick, Schenkel, Tim Crook Associate Keyboard Programmers<\/em><\/span>; Julianne B. Merrill, Patchmaster Productions\u00a0Playback Engineer<\/em><\/span>; Lexi Vollero, PatchMaster Productions\u00a0Assoc Playback Engineer<\/em><\/span>; Emily Grishman Music Perparation\/Adriana Grace Music Copying<\/em><\/span>.<\/p>\n

Production and Creative<\/span>: Rick Elice\u00a0Book<\/em><\/span>; Pigpen Theatre Co\u00a0Music & Lyrics<\/em><\/span>; Sara Gruen\u00a0Novelist<\/em><\/span>; Jessica Stone\u00a0Original Director<\/em><\/span>; Shana Carroll\u00a0Circus Designer & Co-Choreographer<\/em><\/span>; Jesse Robb\u00a0Co-Choreographer<\/em><\/span>; Ryan Emmons\u00a0Tour Director<\/em>;<\/span> Paige Parkhill\u00a0Assoc. Choreographer<\/em><\/span>; Antoine Boissereau\u00a0Assoc Circus Designer<\/em><\/span>; Takeshi Kata\u00a0Scenic Designer<\/em><\/span>; David I. Reynoso\u00a0Costume Designer<\/em><\/span>; Bradley King\u00a0Lighting Designer<\/em><\/span>; Walter Trarbach\u00a0Sound Designer<\/em><\/span>; David Bengali\u00a0Projection Designer<\/em><\/span>; Luc Verschueren for Campbell Young Associates Hair, Wig, & Makeup Designer<\/em><\/span>; Ray Wetmore & JR Goodman\u00a0Props and Puppetry Designer<\/em><\/span>; Camille Labarre\u00a0Puppetry Designer<\/em><\/span>; Joshua Holden\u00a0Puppet Director<\/em><\/span>; Cha Ramos Fight Director<\/em><\/span>; The TRC Company\u00a0Casting<\/em><\/span>; Bond Theatrical\u00a0Tour Booking<\/em><\/span>; Kathleen Carragee\u00a0Production Stage Manager<\/em><\/span>; Riley Gibson\u00a0Stage Manager<\/em><\/span>; \u00c9lianne Desilets-Dub\u00e9\u00a0Asst Stage Manager<\/em><\/span>; Stan Barile\u00a0Circus Assistant Stage Manager<\/em><\/span>; Greg Bawdon\u00a0Company Manager<\/em><\/span>; Jose Amengual\u00a0Asst Company Manager<\/em><\/span>; Gentry & Associates\u00a0General Management<\/em><\/span>.<\/p>\n

Administrivia<\/strong><\/h4>\n

I am not a professional critic. I\u2019m a retired cybersecurity professional, a roadgeek who does\u00a0a highway site<\/a>\u00a0and\u00a0a podcast<\/a>\u00a0about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at:\u00a0Center Theatre Group<\/a>\/Ahmanson Theatre<\/a>;\u00a0Broadway in Hollywood\/Pantages Theatre<\/a>;\u00a0Pasadena Playhouse<\/a>;\u00a0The Soraya<\/a>,\u00a0Chromolume Theatre<\/a>, and\u00a05-Star Theatricals<\/a>.<\/p>\n

Want to find a show:\u00a0Check out the Theatre Commons LA show list<\/a>. Other good lists are the\u00a0Theatre in LA<\/a>\u00a0listings; the\u00a0TodayTix<\/a>\u00a0listings;\u00a0OnStage 411<\/a>\u00a0(use the \u201cshows\u201d drop down); and\u00a0Theatermania<\/a>. If you are looking for discount tickets, TodayTix (unlike their predecessor Goldstar Events) doesn\u2019t handle the small theatres in LA. Luckily, Theatre Source LA has a new initiative:\u00a0StageRushLA<\/a>\u00a0for discount tickets.<\/p>\n

Sadly, since my last theatre outing in August, we’ve lost one of my favorite theatrical venues due to fire: the historical building housing Newhall Refinery, Care\/Tucker Design, The Main, and El Troc was destroyed by a 3-alarm fire<\/a>. Luckily, Canyon Theatre Guild<\/a> next door was spared. I’ve been attending “The Main”, and it’s previous incarnation, Rep East Playhouse<\/a>, since all the way back in 2006<\/a>. Twenty years. Let’s pour a glass for the art and artists of Rep East\/The Main, and hope that small and vital venues like The Main return to Santa Clarita soon. While you’re at it, contribute to support the artists of The Main who lost all their gear<\/a> (they were in the middle of a show run).<\/p>\n

Upcoming<\/h4>\n

Key:\u00a0🎭\u00a0Theatre \/\u00a0🎼\u00a0Music \/\u00a0\"🎙\"\u00a0Other Live Performance \u2013 Next 90ish<\/em>\u00a0Days (🎫\u00a0indicates ticketing is pending).<\/p>\n