SpongeBob Musical: A Sea of Nostalgia and Unexpected Twists

June 9th, 2024

Who lives in a pineapple under the sea? If you know the answer to that question, you, to some extent, know the show SpongeBob SquarePants. As a proud millennial, I can easily quote the first two season of the Nickelodeon show that premiered in 1999. I was all too excited when my 5 year son became interested in watching it and I will fondly hold lazy Sunday mornings together singing the intro song.

When I heard the musical was coming to the Broward Center for performing arts, I thought, “Musical?” Filled with curiosity, and nostalgia, I took my little family of three to see what my favorite sponge had to offer.

The musical begins, as the audience takes their seats, with a skit by Patchy the Pirate, played by Gianfranco Imbert, who pretends to have snuck on stage. He makes a joke about using his phone to record a “pirated copy” and needs to be “removed” by security. As he is escorted out of the building, he begins a chant in the crowd of “yo-ho, we won’t go.” Patchy’s character in the show is played by a human, which breaks away from the shows 2D animation style. This is particularly important to note, because the rest of the characters are also human, and not your typical mask/bodysuit spectacle. As SpongeBob stepped on to stage, I heard my son ask, “Who is that guy!?” While SpongeBob sings “Bikini Bottom Day,” a song whose reprise is heard again, we see the rest of the beloved characters like Patrick Star, Squidward and Mr. Crabs— all dressed in some very interesting costuming. Patrick wore pink Crocs and Mr. Crabs wore boxing gloves for hands instead of claws, really making this feel like a such a casual viewing.

Photo of Anthony Llerandi as SpongeBob SquarePants. photo by Larry Marano.

The show takes on a new storyline, rather than taking some of the famous episodes from their televised seasons. There is a volcano nearby that is about to erupt, and its eruption will destroy all of Bikini Bottom. Amid the chaos, Sandy the Squirrel begins to hatch a plan to save the town, but is interrupted by Plankton and his robot wife Karen. This strange married couple might have the most interestingly paired costumes as Plankton’s eye is hardly recognizable and Karen is a dazzling delight in her holographic one piece. Songs like “I’m not a loser” and “When the going gets tough” added to the overall theme of redemption and self-love, and I think that was the point? Between Squidwards need to be validated, Pearls ache for fatherly love, Sandy’s fight against sea segregation, and Patrick’s simple sadness it become more and more clear that while this musical might have been televised and upheld by children, this was hardly a musical for kids.

While the props were all simple, they felt intentional and, for me, added to the whimsy of it. The coral was all cut pool noodles, and all around the theater—even in the sound booth and maestro’s booth—were tiki faces and inflatable pool toys to really sell the tropical vibe. The props that needed to be extra were. Spongebob’s pineapple was huge and well done (though I wish I got to see more of it), and the usage of digital projections was well employed, changing the background to set the scene or add drama, such as for the fire of the eruption and displaying a large doomsday clock. A large, glowing arc over the stage changed its lights to set the mood, but remained primarily orange, reminiscent of the pineapple under the sea.

During one scene, jellyfish “float” around the theater, coming through the aisles hoisted by cast members. These jellyfish puppets are actually clear umbrellas with thin tassels and glittery beads strung from the ends, but they looked good from a distance. Up close, the craftsmanship was less dazzling. The zip ties were apparent, and the curved handles protruded in an awkward way. Still, I wasn’t taken out of my underwater immersion that badly, and I still found that they had that whimsical charm I admired the play for.

However, whimsy can only carry you through so much of the play. A solid storyline is a must, and this one might just be too challenging for kids under 7, and it is definitely more challenging for their parents to keep them seated and engaged with the show. If you are looking for something to do with your toddlers this summer, this musical might not be the best option, especially if you are looking for something sensory friendly. I would recommend this if you’re looking for a fun, lighthearted show with little dazzle or frills. If you can take the time to relax and embrace the silliness of the story, the production, the costumes, and the sets, then this is the musical for you. As for me, I think I’ll just stick with the cartoon!