Review: SPONGEBOB: THE MUSICAL at Regent Theatre

Before heading to Oshawa’s Regent Theatre for Mansfield Entertainment’s SPONGEBOB: THE MUSICAL, I had never seen a single episode of the cartoon series featuring the ubiquitous bright yellow sea creature with square pants that lives in a pineapple under the sea. It didn’t matter; director Zachary Mansfield’s production of the candy-coloured satire was still fantastic, fishy fun.

SpongeBob (Brogan Nelson) dreams of being something more than a fry cook at Mr. Krabs’ (Benjamin Doncom) fast-food restaurant, perhaps even the manager, but he’s been told for years that he’s “just a simple sponge.” When the underwater volcano Mt. Humongous threatens to erupt and bury the town of Bikini Bottom, its citizens react…poorly.

Most refuse to believe the potential scientific solution to the problem proposed by the town’s sole resident land mammal and SpongeBob’s good friend, Sandy the squirrel (Jillian Cooper), resorting instead to xenophobia and scape-squirreling. The hapless Mayor (Kendra Brophy) volunteers to begin the search for a committee that will eventually become a task force that might at some point focus group a potential solution, while using the crisis to consolidate her own power.

Others are convinced to flee the vicinity in a submarine so expensive that the town must host a benefit concert to fund it, in a scheme run by teeny rival fast-food restauranteur Plankton (Ryan Sutherland) and his “computer wife” Karen (Jordan Robertson-Reid, also the production choreographer) designed to brainwash to town into preferring his menu of chum. Still others, the born followers of the school of fish, seek a saviour in the mystically stupid pronouncements of SpongeBob’s bestie, Patrick Star (Craig Maguire). It’s up to SpongeBob to prove he has the chops to save the town, as the emergency causes a wave of egotism, violence, and profiteering.

Sound familiar?

Don’t let the clever and relevant themes fool you, though; everything is still incredibly silly, with tongue firmly in fish cheek and taken with a grain of sea salt. There are jokes for kids and adults alike, plenty of fourth-wall-breaking nods to both pirates and Broadway, and even an onstage foley artist for some cartoonish sound effects (Liam Woodward).

The bubbly, rollicking score is surprisingly cohesive for being written by a cadre of different bands and musical luminaries, from David Bowie, Sara Bareilles and Cyndi Lauper to the Plain White T’s, They Might Be Giants, and Panic! At the Disco. In fact, if there’s a slight disappointment, it’s that the songs don’t go further to differentiate themselves based on the original artists’ musical styles.

The set (also Zachary Mansfield) and costumes (Andrew Nasturzo) are inventive; even only knowing the show through osmosis and memes, I was instantly able to recognize many of the characters through their stylized, colourful outfits. Highlights include Patrick’s soaringly triangular hair, his sardine followers’ salmon-pink gospel robes, and Squidward’s matching two pairs of legs, which allow Ryan Whittal to do an impressive self-accompanying tap dance.

As well, the way the show encourages us to suspend our disbelief over a single-celled organism and computer played by full-sized humans is thoroughly engaging: Plankton is first represented by a small puppet, then enlarged via an eye through a telescope, and Karen sports 1950s fembot couture. Among a cast that’s clearly having a blast chewing the scenery, Sutherland and Robertson-Reid’s over-the-top villainy steals several scenes. Set pieces, like a throne made partially of pool noodles, and projections of larger locations that echo 1990s computer animation complete the illusion.

Over the top as it may be, that’s not to say that SpongeBob doesn’t have a softer, emotionally-resonant side. Nelson’s earnest portrayal of the title character focuses on SpongeBob’s desire to help his friends and become his best self, while remaining an eternal optimist. Cooper’s Texan twang fades into sadness as the squirrel deals with both anti-intellectualism and species prejudice. Even minor, more one-note characters are given some depth within their flaws, as the show explores the generation and species gap of understanding between Mr. Krabs and his whale daughter Pearl (Heather Kirschner, with an impressive belt).

Is it life-changing? No, but it’s more than just a cartoon tie-in. The relevant satire, care and precision in the performances, and the creative design elements results in a show that makes waves. It’s worth the swim to Oshawa.

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