The SpongeBob Musical

Despite its being almost 10 years old, this musical has never crossed my horizon, so I came with an open mind and only a passing awareness that the eponymous character existed in a television cartoon.  Internet trawling has filled in some of the gaps in my knowledge and made sense of any esoteric script references.  For example, I’ve learned that the oft-repeated “blame the squirrel” referred to the Sandy of the programme, who is actually Sandy Cheeks Squirrel, and that Patrick is Patrick Star, a starfish.   Fans of the series would know this and recognise the humanised form of their favourites from Bikini Bottom, woven into a one-off tale of heroism and friendship in musical format.  

The backdrop of a watery sky perfectly replicated the cartoon series with its painstakingly painted flower clouds, and the upstage platforms dressed with nets, buoys and translucent swim rings supported the ‘sea’-theme and provided welcome height for varying levels to accommodate the full ensemble.  The forestage extensions housed The Krusty Krab (decorated à la SpongeBob’s pineapple home in a crafty merge to save space!) and, opposite, The Chum Bucket, all metal plates and rivets.  Thoughtfully designed, this sensible arrangement left the main stage area clear and required only the addition of a few pieces of furniture or roll-on trucks to indicate the changing scenes and episodes of the tale.  Most impressive was the creative way you depicted the volcano, Mount Humongous.  Having the initial appearance split in half to be moved apart and turned around produced added dimensions to illustrate its terrifying size, while the side ladders supplied access for the characters to climb safely.   Giving the cast the responsibility for the placement and removal of the extras on set worked effectively to hold the attention of the audience in the moment, instead of recruiting black-clad stage crew who cannot help but break the magic of suspension of disbelief.  The frequent shifting demonstrated rehearsed choreography and was slick and noiseless.  The lighting plot was vibrant, augmenting the visual delights of the production and seeming to use all the effects possible!   This helped to maintain the interest by offering variety and excitement in keeping with the jukebox style of the diverse music. Kaleidoscopic colours swirled around the stage, and supplemented character portrayal, while shafts and spots illuminated areas of focused action, and glitter ball, gobos, searchlights, blinder and pyros enhanced the atmosphere and drama of the changing scenes. Clear puffs of smoke and a red glow from the volcano added to its menace, and the special inside the Erupter Interrupter box was masterly.  It was fun to see a UV/black light sequence played out - a favourite feature of panto underwater scenes, it was quite appropriate for Bikini Bottom.  The transitions between effects were always smooth, easing us into the next chapter.  

Overall, I found the quality of sound good, with the dialogue mostly clear, not an easy task, as occasionally rapid delivery, accents and high-pitched young voices confounded precise articulation.  The difficulty is compounded when music is added to the equation.  I thought there was a balance between the backing tracks and the vocals, but even so, I could not hear many of the lyrics.  Admittedly, I don’t know the songs, but listening to the soundtrack online, every word is clear.  Perhaps we need to recognise that the music is accompaniment and as such should be at a lower volume than the microphones - it is, after all, a musical, not a disco, and the audience gets one chance to hear the songs without the benefit of months of rehearsal making them familiar.  Neverthless, the singing sounded well-rehearsed, incorporating some noticeably pleasing harmonies and countermelodies, and we certainly saw exuberant and dynamic presentations from all.  

The costumes and make-up were an intriguing mix of minimal suggestion, e.g. claws for Larry the Lobster and Mr Krabs, who also had reddened hair and a painted-on beard, and full costumes that broadly matched the colours of their cartoon models, making them identifiable.   Squidward looked startling in bright blue wig and lips, and his double-legs no doubt took some thinking about.  They were highly successful, allowing him to move and even dance without falling over his two pairs of shoes.  Considerable research into styles and colours was evident, with small details making a big impact - SpongeBob’s bright red tie, the flower in Sandy’s hair, Pearl’s pearl necklace, Plankton’s eyepatch leaving him just one good eye and a target-sized allusion to it on his back, and Karen in silver, recognisably a computer.   Glitter eyes, temples and cheeks, and fantasy hair, were much in evidence, supporting the other-worldly environment.  The audience could not fail to be impressed by the precisely considered collection.  

The production team together drew the best out of the youngsters with first-rate performances in the lead roles and reliable support from the Ensemble.  The direction used the stage to full advantage with blocking that utilised the levels productively, offered varied groupings, and gave good sight lines (except for those in line with the MD’s head masking centre stage.)  The action flowed apace with prompt cue-biting, while comic lines in the script were given maximum value because of attentive and understanding delivery.   The choreography was designed to please the eye and be within the capabilities of movers of mixed ages, with some gymnastics and physical theatre lifts catching the eye.  Moves were disciplined and exhibited spatial awareness, with some chosen to reflect the style of music.  

This show was a dazzling display of energy that deserved the enthusiastic response of the audience, with strong leads and an Ensemble who were tidy and prompt in their entrances and exits, supporting the narrative by being fully engaged every time they were on stage.  I feel I have had my education broadened by watching this catchy musical, as well as being thoroughly entertained by the high-octane presentation from the accomplished cast.  

Thank you for inviting NODA, and requesting this report. 

 

 

 

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