Family-friendly First Stage, one of the country’s leading theaters for young audiences, continues its current season with a scaled-down production of the 2017 musical, SpongeBob SquarePants, the Broadway Musical .
Now it’s time for The SpongeBob Musical for Young Audiences, which opened at Milwaukee’s First Stage theater on March 3. Both the Broadway show and its younger version are affiliated with the Nickelodeon TV network, which produces the popular cartoon version.
Although the First Stage show is recommended for children ages 6 and older, younger children who are familiar with the cartoon series will also enjoy the antics of SpongeBob and the gang who live with him in Bikini Bottom.
Although the First Stage version probably didn’t cost as much as the Broadway show (rumored to be in the $15-20 million range), it’s clear that a lot of thought, care and cash has been invested in this production. First Stage’s eye-popping set (by Kristin Ellert) and below-the-sea wavy lighting (by Jason Fassl) immediately transport audiences to this colorful undersea environment. An abundance of cleverly contorted Styrofoam pool “noodles” serves as coral formations and strands of seaweed. It’s a neat trick.
The First Stage show unfolds with all the razzle-dazzle of its Broadway predecessor, and many of the songs are identical. No sooner are we introduced to SpongeBob, who lives in a pineapple under the ocean, than some of the other characters start belittling him about being a “simple sponge.” Although SpongeBob yearns to become manager at the Krusty Krab restaurant, where he’s just the fry cook, his dreams are squashed by restaurant owner Mr. Krabs. “Why, you’re just a simple sponge,” he croons.
As Mr. Krabs, adult performer Zach Thomas Woods shines amid a very strong cast. He has the moves and voice of his cartoon counterpart down to a T.
We also meet many of SpongeBob’s supporters, such as Patrick (a starfish). Squidward (a squid) and Sandy (a squirrel who is able to breathe underwater, apparently). Patrick and SpongeBob are particularly close friends (played in one of two alternating children’s casts by Gavin Miller and Gracie Halverson). SpongeBob and Squidward have a fight, but manage to find the necessary social tools to repair their relationship. There’s a strong message here about the power of friendship, as well as teamwork, to overcome obstacles. Near the end, SpongeBob’s small, squishy body allows him to save the day, along with a volcano-busting device created by Sandy (Natalie Ortega). Credit for the show’s choreography goes to Katelin Zelon, who whisks the very large cast around the stage without even the hint of a collision. Her dance moves were definitely a production highlight with children and parents alike.
Another subplot involves the actions of the town mayor (adult performer Lachrisa Grandberry) and adult performer Raven Dockery, who fills a number of roles.
Some of the dialogue is geared more for the adults in the audience, such as a line in which Sandy predicts that she’s as sure about her plan “as a rhinestone cowboy at a disco rodeo.”
The show is supposed to run 75 minutes, with one intermission, although the opening night performance stretched closer to 90 minutes. It will no doubt tighten up by the time you read this review.
Although the show’s songs were written by some high-profile songwriters (such as Steven Tyler from Aerosmith, among many others), they aren’t very memorable. The catchiest (to this reviewer’s ear) was “Chop to the Top,” written by Lady Antebellum (now Lady A). The ode to friendship, “BFF” (best friends forever), also strikes a chord, as does the finale, “Best Day Ever.”
The costumes here are as eye-catching as the set, thanks to costume designer Thesa Ham. Music director Paul Helm is equally creative. As if there wasn’t enough action onstage, a sound effects artist in the balcony (Jonathan Gideon, filling in for Paul Helm) embellishes what is happening below him. The whole production truly seems like a cartoon come to life.
It should be noted that First Stage tries to “cover all the bases” regarding its audiences. There’s a sensory-friendly performance (primarily for kids on the autistic spectrum), a pay-what-you-can performance, and a sign language performance. These fill a critical need for many children who would otherwise have to miss seeing this spectacular show.
The plot, though scaled down in this version, is still far too complicated for children (and this reviewer). There are various subplots; one involves a pair of villainous fast-food competitors (adult performers Bree Beelow and Jesse Bhamrah) who attempt to put the Krusty Krab out of business. There’s also a wonderful song-and-dance scene in which Squidward (the delightful Doug Clemons) tap dances his way into the audience’s hearts while singing, “I’m a Loser.” On opening night, it seemed as though a few kids had to be constrained in their seats so they wouldn’t rush onstage and join Squidward’s big production number. At one point, Squidward is backed by a line of dancing sea anemones.
