WATER FOR ELEPHANTS Broadway Previews

The critically acclaimed bestselling novel WATER FOR ELEPHANTS comes to vivid life on Broadway in a unique, spectacle-filled new musical.

Directed by Tony Award® nominee Jessica Stone (Kimberly Akimbo), with a book by three-time Tony nominee Rick Elice (Jersey Boys, Peter and the Starcatcher) adapted from Sara Gruen’s novel, and a soaring score by the acclaimed PigPen Theatre Co., WATER FOR ELEPHANTS unites innovative stagecraft with the very best of Broadway talent in an authentic and deeply moving new musical that invites us all to give ourselves to the unknown.

Grant Gustin (The Flash, Glee) will make his Broadway debut as Jacob Jankowski, alongside Isabelle McCalla (Shucked) as Marlena. The cast also features Gregg Edelman (City of Angels) as Mr. Jankowski, Paul Alexander Nolan (Parade) as August, Stan Brown (Homicide: Life in the Streets) as Camel, Joe De Paul (Cirque du Soleil's Dralion) as Walter, Sara Gettelfinger (Dirty Rotten Scoundrels) as Barbara, and Wade McCollum (Wicked) as Wade.

Newly announced for the musical's company are Brandon Block, Antoine Boissereau, Rachael Boyd, Paul Castree, Ken Wulf Clark, Taylor Colleton, Gabriel Olivera de Paula Costa, Isabella Luisa Diaz, Samantha Gershman, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Harley Ross Beckwith McLeish, Michael Mendez, Samuel Renaud, Marissa Rosen, Alexandra Gaelle Royer, Asa Somers, Charles South, Sean Stack, Matthew Varvar, and Michelle West. Casting is by Tara Rubin Casting.

The production will include circus design by Shana Carroll, who's also co-choreographing with Jesse Robb. Also on the creative team are scenic designer Takeshi Kata, costume designer David Israel Reynoso, lighting designer Bradley King, sound designer Walter Trarbach, projection designer David Bengali, hair and makeup designer Campbell Young Associates, puppet designer Camille Labarre, music supervisor and arranger Mary-Mitchell Campbell and Benedict Braxton-Smith, and orchestrator Daryl Waters. Elizabeth Doran is music director, and Cha Ramos will provide fight direction. Timothy R. Semon will be production stage manager.

Peter Schneider, Jennifer Costello, Grove Entertainment, Frank Marshall, Isaac Robert Hurwitz, and Seth A. Goldstein are producing the Broadway debut.

Previews begin February 24, 2024 at the Imperial Theatre on Broadway, with opening night set for March 21.

Updated On: 2/21/24 at 03:24 PM

Fordham2015 said: "Just got an MTC email that said 30 under 35 members can get $30 tickets to Water for each performance through April 7. Only in person at the box office though, you can't buy them online"

Also adding that these tickets are same-day only beginning at box office opening through 1 hour before curtain. Essentially, this is an exclusive rush for MTC's 30-U-35 Members.

The show’s lottery will be in person and same-day. Entry begins two hours before a performance, drawing is 90 mins before curtain, tix are $40.

In-person rush tix will also be available for $49 on performance days.

How does the in-person lottery usually work? It's the first time I've seen this.

Hope Lombardo said: "If you're a tech nerd (like me :) this tik-tok of behind-the-scenes with the tech team is truly amazing...i guess i knew there would be a lot of laptops & equipment but i didn't understand how much! (and that they would be setup in the seats)....anyway, worth the view >https://www.tiktok.com/@w4emusical/video/7338209035168255278

(it looks like NASA)"

Yes, this is what tech looks like for even the most low-tech Broadway shows.

And the house will look like that until the morning of the final dress.

teos said: "How does the in-person lottery usually work? It's the first time I've seen this."

They start taking entries a set amount of time before the drawing; a half an hour before in this case. There's usually a separate station where someone is taking names, not at the box office itself, though nearby. You give them your name... I'm trying to think if any gave me a ticket with a number or if they all called by name. It's been so long. You can hang out or leave and come back at the time of the drawing. You just have to be there when they start calling names. Most of the time you didn't have to specify how many you wanted (1 or 2) until your name (or number?) was called, and they would keep drawing until they'd given away all the allotted tickets based on how many people said they wanted as their names were drawn. Then they send the winners in line in the order they were drawn to the box office to buy their tickets. That's how I remember it anyway.

WICKED still does their in-person lottery. I lost the last time I tried it, but ended up being able to grab a great seat as a “lottery loser” for $60 I believe. Maybe they’re hoping to employ a similar strategy.

Step right up and put some wind in your sails!

Benzini Brothers Circus makes a pit stop in New York City, as the new musical Water for Elephants begins previews tomorrow (February 24) at the Imperial Theatre, following a stint last summer at the Alliance Theatre where it won the BroadwayWorld Atlanta award for best musical. A high-end visual spectacle, the tuner is capitalized at an estimated $25 million, making it the costliest new musical of the current Broadway season.

“After losing what matters most, a young man jumps a moving train unsure of where the road will take him and finds a new home with the remarkable crew of a traveling circus, and a life — and love — beyond his wildest dreams. Seen through the eyes of his older self, his adventure becomes a poignant reminder that if you choose the ride, life can begin again at any age.”

Who’s heading under the big top?

Was anyone at the invited dress last night or plan on being at tonight’s first preview?

Updated On: 3/30/25 at 09:13 PM

Intermission is wrapping up here. The audience is loving it. Paul Alexander Nolan is giving an outstanding performance. The thrilling circus parts are great, there are a few too many slow moments and the score is pleasant to hear but hasn’t stuck with me. Some great visual moments throughout all design- scenic, lighting, and costume. Hoping to be more emotionally moved by the second act but I can say that it has the makings of a successful show that I think many would enjoy. Will report back with a more coherent review afterwards!!

Telecharge lists the runtime as 2:30 including a 15-minute intermission, but the show‘s official website says that hasn’t been finalized yet.

First preview fun tidbits:

-Isabella McCalla gave a short speech/ after curtain shout out to the cast and crew making their debut tonight.

-A hilarious mishap occurred at the very end of the show when an ensemble member entered too early loud and proud with their line announcing the cab was here. Everyone in the scene just looked at him and just kept talking and he ran off. My husband didn’t even catch it was weird until 45 seconds later when he came on again to announce the cab was here. Audience lost it, in a good way and the actors played off it so well.

-There was a sequence where a knife was supposed to stab a cauliflower, but it failed twice before it was stabbed in a joking way. If it weren't for the reactions of the employees around me I would have thought it was written to go that way.

Overall thoughts:

-I sat furthest house right, first row of Rear Mezz. Marked partial view, nearly perfect view.

-The circus stunts and ensemble dancing make the show worth seeing. Some of it was truly unbelievable.

-Paul Alexander Nolan elevated the show every single time he was on the stage. He is the only person, save Isabella McCalla, who felt like they were irreplaceable.

-I wanted more from the set. My husband made the comment it needed to pick between “artsy sparse” and a spectacle because it felt kind of between the two. The lighting and costuming I really liked. And when the set worked, it really did. I just wanted a little….more

-the solos go on way too long. They stopped the show in its tracks, were not thrillingly sung or well written. They needed to be shortened at the very least.


-The comment above where it said the show was missing its emotional core sums up how I feel. I just didn’t care enough about the characters or even the animals to feel affected or moved. I saw the Notebook at 2pm and felt so many feelings. This left me feeling “meh”.


Tourists will enjoy it. Anyone will enjoy the stunts, the lighting, the dancing. It was a nice night out but it didn’t leave a strong impact of WOW. I may be in the minority because the audience was crazy for it. I am interested to see what changes they make in tightening it up and to hear more thoughts!!

Updated On: 2/25/24 at 11:55 PM