Even though I myself had only seen one or two random episodes of Spongebob Squarepants over the last twenty years, my subconscious had absorbed—if you will—some basic facts about the jaundiced, angular, happy-go-lucky sea-dwelling sponge and his fellow Bikini Bottom inhabitants. That said, when I first heard about The Spongebob Musical on Broadway, I envisioned something akin to one of those live touring shows based on kiddie tv with actors parading around on stage in larger than life character costumes. Of course I soon learned that director Tina Landau opted to forgo the expected cartoony look of the characters as created by the late, great Stephen Hillenburg, instead representing the majority of residents of Bikini Bottom in human form with clever wardrobe, hair and makeup nods to their animated aquatic selves. What I hadn’t expected, until I arrived at TPAC’s Jackson Hall earlier this week for Opening Night in Nashville of SpongeBob’s first-ever National Tour, continuing here in Music City through Sunday, November 10, was a neon rainbow of color, light and sound that magically bridges the gap of ridiculous cartoon goofiness with some genuinely lovely musical theatre moments.
Having kicked off the tour just last month, it would seem the company is still working out being in a new venue each week as there was a slight delay to opening the theatre to patrons for the show’s Nashville premiere. That said, once the eager audience gained entry, I was immediately struck at the the instantaneous lift in spirit and presence of joy. Perhaps in an effort to buy more time to work out some rumored opening night tech glitches, as the audience took their seats, a few members of the company casually gathered on the edge of the stage and began an impromptu jam sesh. Once the anxious audience had filtered in, and assumably, the technical issue resolved, the show began.
Even the most casual of SpongeBob fans will surely marvel at what lighting designer Kevin Adams, projection designer Peter Nigrini, sound designer Walter Trarbach and costumer and set designer David Zinn, together with director and co-conceiver Landau have created, for the visual and audio results do indeed transform the venue into an entrancing and inviting underwater land of laughter, fun and friendship.
Of course what makes The SpongeBob Musical even more enchanting is, well, the music. The soundtrack boasts tunes by an undeniable who’s who from virtually every genre of music and I do mean EVERY genre…throughout the show the audience is treated to tunes by everyone from Cyndi Lauper, Plain White T’s and Aerosmith’s Joe Perry and Steven Tyler to Yolanda Adams, Panic! At the Disco, Lady Antebellum and more. In addition to all the new music written specifically for the musical, there’s even a reworking of David Bowie’s No Control from his 1995 Outside release that reunited him with Brian Eno. When I say this musical has something for everyone, I mean it, and that’s largely thanks to original SpongeBob Broadway music director Patrick Hoagland, arranger Tom Kitt, music coordinator John Mezzio, music supervisor Julie McBride and touring music supervisor Timothy Hanson.
Speaking of the show’s music, the opening number, Bikini Bottom Day (by indie/folk singer/songwriter Jonathan Coulton) as performed by SpongeBob and company perfectly sets up the feel of the show. As SpongeBob (Lorenzo Pugliese) awakens and prepares to head to his job as a fry cook at The Krusty Krab, Bikini Bottom’s most popular eatery, he sings this cheery wake-up. As he passes by his best pal, a rather large pink starfish named Patrick Star (Beau Bradshaw), Patrick questions if it’s morning already, to which SpongeBob replies, “It sure is and I’m singing the opening number.” That hilarious lyric serves to let the audience know that the lines are indeed blurred between fantasy and reality, between cartoon and human, between Bikini Bottom and the rest of the world. The remainder of the opening also introduces us to SpongeBob’s other bestie, Sandy Cheeks (Daria Pilar Redus), a science-lovin’, karate-choppin’ squirrel who lives underwater thanks to a diving suit and helmet.
This seems as good a time as any to further elaborate on the look of the characters. As alluded earlier, rather than SpongeBob and company looking like a furry fetish convention has converged upon the town, goofy oversized amusement park or sportsball mascot costumes are nowhere to be found. Instead of Pugliese being confined to a giant yellow square spongy costume, as SpongeBob, he’s the human personification of the character dressed in a short-sleeved yellow button-down with a red tie, suspenders and brown checked pants. He plays the plucky sponge with a childlike excitement reminiscent of Paul Rubens’ Pee Wee Herman, making you feel he is truly excited to be in this show.
Meanwhile, Bradshaw’s Patrick, rather than being covered in pink makeup from head to toe, is simply dressed in loud green board shorts, a pale pink Hawaiian floral shirt, bright pink socks and sneaks, all topped off with a pink fauxhawk. He’s the perfect Hardy to Pugliese’s Laurel, bringing a simplistic, good-natured kindness to the role.
As Sandy, Redus wears a simple white science-y-looking jumpsuit and in place of her bubble helmet, hair and wig designer Charles G. LaPointe has opted to have her wear an afro, accented, of course with Sandy’s signature pink hibiscus bloom. Redus’s Sandy is smart and reserved when needed and her over-the-top southern accent—Sandy’s from Texas, after all—fit right in here in Nashville.
While there are several other costume highlights featuring all the colors of a box of crayons, including Sheldon Plankton & his robot wife, Karen (Tristan McIntyre & Caitlin Ort), Mr. Krabs (Zach Kononov), Pearl (Miami Maszewski), Mrs. Puff (Natalie L. Chapman) and the Sardines, it’s Larry the Lobster (Dorian O’Brien) and Squidward (Cody Cooley) who get the biggest reception from the audience due to the cleverness of their costumes.
As I said at the beginning of this review, while you don’t have to be a fan of the animated series, I’ve been told if you are, there’s tons of Easter eggs peppered throughout. While I hadn’t seen more than a few episodes of the series prior to attending the stage musical, I must admit, in the days since, I’ve set my dvr to record SpongeBob and as I’ve found myself staying up late to bingewatch ‘just one more episode’, I’ve picked up on a few things. One example…late in the show, when the residents of Bikini Bottom are celebrating their survival of the volcano, Patrick asks if mayonnaise is an instrument…for those of us in the know…that’s a reference to a 2001 episode title Band Geeks in which Patrick poses the now famous question (famous at least to the legions of fans who’ve tuned into the animated series for two decades now).
I love that the stage version includes a foley artist, credited as Foley Fish. It’s also pretty cool that said foley artist is Ryan Blihovde is a graduate from Nashville’s own Belmont University! As the on-stage Foley Fish, Blihovde provides live sound affects like the spongy squish of SpongeBob as he walks across the stage or the thud of Pearl’s footsteps. She’s a whale in the animated show, thus explaining yet another inside joke that viewers will no doubt appreciate, when she mentions she and her father, Mr. Krabs are different species.
Which reminds me…if you’re thinking SpongeBob The Musical is only for kids, think again…in addition to the plethora of hummable tunes, gorgeous set design and overall visually stunning look of the show, there’s more than a few levels of humor for all ages. Yes, some jokes are obvious and the kids in the audience were loving it, but there were a few moments peppered in just for the adults. One in particular that resulted in an audible guffaw from yours truly happens when Sandy is explaining how she can stop the volcano. During her presentation, she taps a wipeboard with a pointer as detailed drawings of her theory appear. In the last slide as she explains how her Eruptor Interruptor will save Bikini Bottom, the illustration on the board looks suspiciously like a lady’s bikini area…pre-wax. I about spit out my limited edition Seanut Butter and Jellyfish Goo Goo Cluster! And yes, you read that right…Goo Goo, one of Nashville’s most famous confectioners has teamed with TPAC to create a special chocolate covered peanutty treat, with a sea of surprises inside, available exclusively in the concessions area during the run of SpongeBob The Musical, but I digress.
With a story concerning the possible end of days for the residents of Bikini Bottom, thanks to the pending eruption of a volcano, Kyle Jarrow’s book of the musical is simple…SpongeBob and friends must overcome their insecurities to band together to save the day. To that end, the story broaches lessons in relationships, good vs. evil and never underestimating ones own self-worth. That’s just one aspect of the show that does a brilliant job of playing to both the youth and the older members of its audience, for what’s a show based on a cartoon worth, if there’s not at least a few morals to the story cleverly hidden among the laughter and songs?
On that note, musical highlights are a plenty in SpongeBob The Musical. BFF features Pugliese and Bradshaw’s SpongeBob and Patrick in an all-out declaration of their bond. The catchy tune penned by Plain White T’s is simply joyous.
Pugliese gets his show-stopping moment as SpongeBob with (Just A) Simple Sponge, Panic! At the Disco’s contribution to the score. During this number, Pugliese’s SpongeBob defies the expectation and label put upon him by his boss, Mr. Krabs as he announces he is NOT A Simple Sponge. The visuals of this song heightened by the use of blacklight and ensemble members dressed in black blending into the background behind SpongeBob while neon yellow sponge squares dance behind him forming everything from musical notes as he plays his trademark noseflute, to taking shape of a superhero cape, a bit of foreshadowing for the audience of SpongeBob’s inevitable hero status by show’s end.
Daddy Knows Best, featuring Kononov and Maszewski as Mr. Krabs and his daughter, Pearl, showcases both actors vocal skills in a tune that’s neatly nestled somewhere between Streisand’s Papa Can You Hear Me from Yentl and Minnelli and Grey’s Money Makes the World Go ‘Round from Cabaret.
Hero Is My Middle Name, penned by Cyndi Lauper and Rob Hyman, and performed herein by Pugliese, Bradshaw and Redus is another inspiring anthem during which our trio convince each other they can indeed save Bikini Bottom.
Super Sea Star Saviour, Yolanda Adams’ addition to the score, features Bradshaw’s Patrick surrounded by adoring sardine followers that just might put you in mind of JC Superstar mixed with a little Sister Act.
As he does with his four-tentacled wardrobe, Cooley’s Squidward also steals the show musically with his long-anticipated Act 2 epic number, I’m Not a Loser that kicks off with an almost unseen quick-change into a sparkly tux and continues with some of the show’s most tap-tastic footwork, including a Busby Berkley-inspired kickline featuring ensemble dancers backing. Christopher Gattelli’s choreography is showcased here, but shines throughout the entirety of the musical. Executed so effortlessly by the entire ensemble, it’s easy to forget the hours they must put into it to make it seem so simple.
A few reprisals—more great original numbers like John Legend’s sweet (I Guess) I Miss You and Chop to the Top, from Nashville’s own Lady Antebellum, which includes some impressive physicality from Pugliese as he and Redus climb the volcano to thwart its erupting—and the story wraps neatly with the expected outcome of SpongeBob and friends saving the day, and their beloved Bikini Bottom. But don’t rush out of the theatre in hopes of beating the crowd to the valet or your’ll miss a post-script all-in of the entire company (and it’s grateful uplifted and joyous audience) as the night ends with a rousing rendition of that earworm of a theme song from the original animated series!
The SpongeBob Musical continues its Music City stop with shows at TPAC through Sunday, November 10. Friday & Saturday evening performances are at 8p.m. Saturday and Sunday matinees are at 2p.m. and 1p.m. respectively and the show wraps with a final Sunday evening performance at 6:30p.m. Tickets range in price from $45-$90. CLICK HERE to purchase tickets or from more information.
Not in Nashville? The SpongeBob Musical continues its National Tour with dates across the US and Canada including stops in Oklahoma City, Dayton, BrookVille, New Brunswick, Philly, Toronto, Detroit, Wilmington, Morgantown, Lexington and more through July 2020. CLICK HERE to purchase tickets in your area or to see the full tour schedule.
To keep up SpongeBob and the entire Bikini Bottom gang, follow SpongeBob The Musical on Facebook, Instagram, Twitter and YouTube.
Up next at TPAC, it’s the beloved favorite, CATS, followed by the highly anticipated Hamilton as their 2019-2020 Broadway Season continues. CLICK HERE for tickets or more info. You can also follow TPAC on Facebook, Twitter and Instagram.
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