Exclusive Interview: Isabelle McCalla on Marlena’s Quiet Strength and the Courage to Choose Oneself in ‘Water for Elephants’

With an extraordinary gift for connecting with audiences, Isabelle McCalla brings an unmatched vibrancy and emotional resonance to every role she inhabits. She transforms the stage into a canvas, painting stories with depth, authenticity, and breathtaking nuance. From breaking boundaries as Alyssa Greene in the Tony-nominated The Prom to her dazzling Broadway debut as Disney’s beloved princess Jasmine in Aladdin, McCalla commands the spotlight with a rare blend of grace, power, and versatility that has solidified her place as one of Broadway’s brightest stars.

Currently starring as Marlena in the Broadway adaptation of Water for Elephants Musical, Isabelle McCalla brings a rich complexity and empathy to this role, embodying a woman who is both resilient and vulnerable. The story, set against the enchanting backdrop of a traveling circus, explores themes of loss, reinvention, and love. Through Marlena’s journey, Isabelle invites theatergoers to reflect on the power of choosing oneself and embracing new beginnings, no matter how uncertain the path may seem. With every performance, McCalla delivers a poignant reminder that life’s most transformative moments often come when we take a leap of faith and trust in our own strength.

Pop Culturalist was fortunate to sit down with Isabelle McCalla to discuss her extraordinary journey in bringing Marlena to life in Water for Elephants Musical. During our conversation, she shared heartfelt reflections on finding courage in vulnerability, the significance of choosing oneself, and the profound connections that storytelling can create. Isabelle’s words serve as a reminder of the transformative power of theater—not just for those who witness it, but for those who live it on stage.

PC: You’ve been attached to this project for over two years and have familial ties to your ancestors. What ultimately made you want to be part of this project? As you brought your interpretation of this character to the stage, what’s something you wanted to ensure was translated from book to film to stage? And what’s something new that you brought to her?
Isabelle: I initially joined this project because Jessica Stone was attached as director. I adored Kimberly Akimbo and was eager to collaborate with her. At the time, I hadn’t even read the book, but when I finally dove into Sara Gruen’s novel, I was swept away by the vibrant world she created—a world full of flawed, gritty characters set against the mesmerizing backdrop of a circus.

When I stepped into the rehearsal room, the experience was transformative. Hearing the music by PigPen Theatre Co., witnessing the acrobatics choreographed by Shana Carroll, and immersing myself in Marlena’s voice and world felt extraordinary. I’ll never forget singing “Easy” for the first time with the acrobats on silks. It was a profoundly moving moment—a perfect fusion of these mediums that felt like pure magic. That feeling never faded for me. Every time I revisited this project or entered a rehearsal room, I felt its potential. Even as we refined and reimagined it, cutting away the extraneous pieces to reveal the diamond within, I couldn’t shake the sense that this show was something truly special. My gut kept telling me, “You have to play Marlena on Broadway.” I poured everything I had into making that a reality, and standing here now, I feel an immense sense of gratitude.

From the page to the stage, I wanted to preserve Marlena’s quiet strength and grounding presence. She’s the gyroscope of the circus—a calming, steadying force among the bombastic men around her. She’s a healer, an equestrian, and someone who tames not just animals but also volatile personalities. Her capacity for empathy and her ability to anchor a room felt vital to convey.

What I wanted to amplify was her vulnerability. I wanted her internal conflict to resonate with audiences in a meaningful way. It was important to me that Marlena not be viewed as simply trapped in her marriage. In our interpretation, she is a woman who owns her choices. She chose to leave her family, to marry August, and to stay with him despite his violent tendencies because she believed in his goodness. Her hope and faith in him, though heartbreaking, are deeply human. What I love about our Marlena is that she embraces the complexity of her choices, never shying away from them. There’s a strength in that vulnerability, and I hope I’ve elevated that aspect of her character from the novel to the stage.

PC: You definitely have. When we’re introduced to Marlena, it’s so apparent that she’s spent a good portion of her life guiding others and being that support system for them. Who have been the people in your own life who have shown up for you in a similar way? Did you channel them into your portrayal of this character?
Isabelle: Oh, my gosh. That’s such a great question. I’ve been incredibly fortunate to have some amazing mentors in my life, most of whom have been women. I have an incredible circle of strong female friends who have faced life’s challenges head-on and yet still show up for their people with unwavering love and support.

One of my best friends, Mary Antonini, is a perfect example of that. She’s one of the most grounded and compassionate souls I know. She has this uncanny ability to cut through all the extraneous noise in any situation and get to the heart of what truly matters. She’s been a rock for me. My cousin Vivian is another cornerstone in my life—she’s like my soulmate. We often say the same thing at the same time, and there’s this unspoken connection between us that feels almost telepathic. That sense of empathy and energetic synchronicity I share with her is something I’ve tried to channel into Marlena.

I also have to mention my best friends from college—Storm, Ellie, and Mackenzie. I’ve been so lucky to live alongside people who aren’t afraid of tough conversations, who are deeply soulful, and who know how to bring levity with their silliness. That duality—of being both deeply grounded and joyfully free-spirited—is something I’ve worked to weave into Marlena. We’re never just one thing, and I love that this character embodies that complexity.

PC: One of the gifts you have as a storyteller and artist is the way you express yourself through movement. The work you’ve done on the trapeze is absolutely breathtaking to watch. What is the preparation like for that moment in the production? Is it as effortless as you make it seem on stage?
Isabelle: I appreciate that it looks effortless—because it definitely wasn’t at first. It was very much a process of trial and error. My years of training as a dancer certainly gave me a foundation, though. Once I found my footing, it started to feel like adagio on rope—a kind of lyrical, balletic dance in midair, which made it such a joy to perform.

Building the strength for it, however, was a whole other challenge. I spent a lot of time in Pilates classes, working on pull-ups, hangs, and shoulder presses to build the necessary upper body strength. Holding yourself up on a trapeze and transitioning into different positions is incredibly demanding. There wasn’t a singular “aha” moment where it all clicked, but over time, as my strength grew and my confidence built, the edges softened. It started to feel natural.

PC: It’s so stunning to watch in the show. You and Paul [Alexander Nolan] do such a fantastic job highlighting the evolution of this relationship. There’s a beautiful line where Marlena says there were points in their marriage where she loved every version of August. You feel that throughout the show. What has it been like getting to collaborate with Paul and bring that contrast onto the stage?
Isabelle: Paul Nolan is one of my favorite actors I’ve ever had the privilege to work with. First and foremost, he’s a goofball—a wonderfully silly and kindhearted person. That sense of playfulness and his generosity as a scene partner have made me feel completely safe working alongside him, which is so important given the abusive dynamic between Marlena and August.

What I love about Paul is how unpredictable and dynamic he is as a performer. He never plays a scene the same way twice, which keeps everything alive and electric on stage. That works so well for the character of August, who is volatile and can flip in an instant. As Isabelle, I feel safe with him every moment we’re on stage. But as Marlena, I feel a constant sense of danger. That contrast is thrilling to explore.

Paul and I also spent a lot of time discussing the complexities of their relationship. We wanted to ensure the audience could sense the love that once existed between Marlena and August because there’s nothing more heartbreaking than seeing a relationship unravel when it was good at one point. It makes their downfall so much more tragic. August isn’t a caricatured villain with a twirling mustache—he’s a deeply flawed man who is consumed by his sickness. He can’t rise above it, and Marlena, despite her love for him, knows that if she stays, she’ll be destroyed by it.

There was never a single moment where we felt we’d “cracked the code” for portraying this relationship. Instead, it evolved naturally through the trust, care, and time we invested in building these characters and their dynamic. Playing out that arc every night is one of my favorite parts of the show—it’s heartbreaking, nuanced, and incredibly rewarding.

PC: You feel that as an audience member. There’s also a point in the story where your character hits rock bottom, questioning how she’s gotten to where she is. It’s such an introspective moment, and there’s so much restraint and nuance in the way you approach that scene and number. The stillness you embrace creates such a powerful impact. How do you create that space for yourself night after night, especially on stage, where performers are often encouraged to go bigger to reach the last row in the theater?
Isabelle: Thank you so much for acknowledging that—it’s my favorite moment in the show. Jessica Stone, our director, has been masterful in understanding and threading the tone and emotional temperature of our piece. With so many grand, spectacle-driven moments, what I love most are those small, intimate, quiet beats because they allow the audience to truly see this character.

As an actor, I’ve learned that stillness can be incredibly engaging. When a performer allows you to lean in rather than pushing outward, it creates a different kind of connection. In this song, all I have to do is ask myself the questions—the way it’s written supports that. There were times during rehearsals and previews when I felt the urge to project to the last row, to make the emotion bigger, and Jessica would gently remind me, “You’re veering into overwrought territory. You don’t need to push. Trust the stillness.”

To get into that mindset, I remind myself of two things. First, I’ve lived with this song for two years now—it feels organic, as though it’s part of me. Secondly, when I feel uncertain, I focus on the words. I let them guide me. I allow myself to go on the journey they create. Before the lights come on for that number, I tell myself, “You don’t have to do anything. You don’t have to cry. You don’t have to act. Just be with yourself.”

It’s a meditative, beautiful moment that I get to share with the audience. It feels powerful and intimate, and it’s rare to have that kind of stillness on a Broadway stage. I love going on that journey every night—it’s a gift to have that quiet space in the midst of such a dynamic production.

PC: It’s also a moment when Marlena decides to choose herself. Was there a point in your own life where you had to put yourself first? What do you hope audiences take away from that moment in particular?
Isabelle: During our out-of-town tryout, I came to the realization that I was in a relationship that wasn’t working for me. I had been trying to please others just to maintain the status quo, but deep down, my heart was pulling me in a different direction. My entire body felt out of sync, vibrating in a way that told me something was wrong. Like so many of us—especially in this industry—I’m a serial people pleaser. Voicing my truth and admitting that the relationship wasn’t right anymore was one of the hardest things I’ve ever done.

Breaking out of that relationship was terrifying, but it was also freeing because, for once, I chose myself. I wasn’t living for someone else or sacrificing my own well-being to keep others happy. I didn’t know it was the right decision until after I left, but I had to take that leap. My body and nervous system couldn’t take it anymore—it was screaming at me to make a change.

One of the lyrics in that song is: “You weren’t even listening to your heart as it was beating, screaming, pointing in the direction that you wouldn’t dare to look in.” That resonates so deeply with me because Marlena’s choice isn’t about August versus Jacob—it’s about deciding whether to put her marriage first or to reclaim her life and believe in herself. Choosing yourself is one of the scariest things you can do, but it’s also the most vital. That’s what Marlena has taught me: it’s worth the risk of losing things if it means gaining a life where you’re truly prioritizing yourself.

I’ve also learned that choosing yourself doesn’t have to come at the cost of kindness or generosity. In fact, I’ve found I’m more generous and kind when I’m not suppressing what my body and soul are crying out for.

The other night, I saw a woman in the second row weeping during that song, and it struck me. I think so many women—and anyone who has been in a relationship—can relate to that moment of losing yourself for someone you love and the pain of knowing your choice might hurt them. My hope is that audiences see Marlena’s journey and recognize the power of being still, quiet, and listening to your heart. I hope it gives them the courage to choose themselves. Marlena has taught me that you can find strength in that choice, and I hope she can inspire others to do the same.

PC: Beautifully said. There’s so much trust that you see on that stage, and there’s a moment when you fall backward into the arms of the company. It’s so breathtaking to watch. How did you all build that trust throughout this process?
Isabelle: It helps immensely that we’re working with world-class circus artists. These acrobats come from all over the world and are truly the best at what they do. One of the funny things about the word “circus” is that it’s often used to mean chaos or disorder, but in reality, the circus is the complete opposite. It’s incredibly meticulous, highly organized, and above all, safe. Safety is the top priority in circus work, and that principle carried over into our rehearsals.

For the trust fall specifically, I’m caught by two porters who are extraordinary professionals—and also wonderful friends. They’re silly, vibrant people, but they take their work very seriously. They don’t drop people; they catch people. Seeing the precision and care they bring to far more complex stunts gave me complete confidence that falling off the back of a scaffold into their arms would be okay.

Before I ever attempted the fall, we spent a lot of time going over the logistics and mechanics in meticulous detail. We discussed the right angles, body positioning, and timing. They even had a female acrobat fall from the same position first to work out the exact placement. Afterward, they walked me through everything step by step—how to hold my body, where I’d be falling from, and exactly where they’d be positioned to catch me.

Every night when I get to that moment, one of the acrobats calls out “Here,” so I hear their voice and know they’re ready. It’s such a small but grounding reassurance that they’re there for me. The first few times I did it, I squealed—it’s a trust fall. But now, it feels effortless. I know I’m falling into the arms of dear friends who have my back—literally. It’s become one of the easiest and most thrilling parts of the show.

PC: You’re such a pro on stage. There are so many people making their Broadway debuts. What has it been like getting to share this milestone with them? Did you share any words of advice?
Isabelle: It’s been absolutely wonderful to watch so many of my castmates make their Broadway debuts. On our first preview night, I had the honor of giving a speech to commemorate them, and it was such a special moment. There’s nothing quite like the night you make your Broadway debut—you never forget it.

It’s a little surreal for me now, realizing I’m no longer one of the “newcomers.” I’ve been in the business long enough that I feel established and truly at home on a Broadway stage. What I’m most grateful for is how they remind me of the magic of it all—the dream that this represents for so many people. Getting to share this experience with them, performing together eight times a week, is such a gift.

The main advice I’ve shared is to forgive themselves when things don’t go according to plan. Don’t take yourself too seriously. Yes, we’re on Broadway, and that’s extraordinary, but the best moments happen when we allow ourselves the freedom to play and let go of trying to control every aspect of the show. So much is out of our control anyway.

For example, last night, I was in the middle of a number and didn’t realize my pants were unzipped until someone came up to me mid-scene and whispered, “Isabelle, zip up your pants. You just flashed the audience.” I was mortified at first, but then I laughed—and so did everyone else. Honestly, I’m not even sure the audience noticed, but it became a lighthearted moment for the whole cast.

The more you can laugh at yourself, the better the experience will be. We’re not performing brain surgery; we’re telling stories for a living. And we’re lucky to be doing it at the very top of our industry, on Broadway. It’s important to hold onto that perspective and remember just how special this dream is.

PC: I love that when you’re walking out of the theatre, there’s a sign that says a flock of elephants is called a memory. When you look back at this experience thus far, what is the memory that’s going to stand out for you?
Isabelle: There are so many memories, but the ones that stand out the most all revolve around the community and the people in this building. Before every show, we have this ritual where we stand in a circle, put our hands in the middle, and begin reciting part of our carnival bark: “Step right up, step right up.” We keep going until everyone has joined in, creating this circle of vibrating, tingling energy. Once everyone’s there, we say, “Put some wind in your sails,” and we do a whirlpool motion together before pulling up. It’s a moment to connect, lock eyes, and get on the same page.

For me, that sense of community is what will stay with me forever. I’ve found a deep family here, people who have truly changed my life. Circus artists are incredible—they throw themselves into every part of their lives, whether it’s love, play, or even loss, with a bravery and openness that’s rare. They live with such courage and vulnerability, and we could all learn from that. This experience has taught me to embrace my own vulnerabilities and to live with the same tenacity and passion that they do. That’s the memory I’ll carry with me—the beautiful community we’ve built and the fearless way we’ve lived and worked together.

PC: Throughout your career, you’ve always made such an impact on audiences with the roles you’ve played. What’s left on that bucket list?
Isabelle: So much—I don’t even know where to begin. I want to keep being a leading lady and originating roles. I’d love to explore more comedy and drama, maybe even do a play on Broadway. Winning a Tony someday would be a dream. I’d also love to break into TV and film, continuing to tell meaningful stories in different mediums.

Directing is something that’s been stirring in me as well—I think I’d like to explore that someday. But more than anything, I just want to keep playing, keep creating, and keep telling good stories for as long as I possibly can.

Make sure to follow Isabelle on Instagram. Water for Elephants Musical is now playing at the Imperial Theatre.

This interview was initially published in June 2024.

Photo Credit: Courtesy of Polk & Co.