The Bushnell, Hartford, CT
through October 6, 2019
by Jarice Hanson
It may be obvious that if there is a toddler in your life,
“SpongeBob The Musical” is not to be missed. Could there be any way better to
introduce a child to theatre than attending a full-blown, colorful fantasy of
life in the undersea location of Bikini Bottom? There is a reason why this show
was nominated for 12 Tony Awards in 2018 (it won only one, for Best Scenic
Design). “SpongeBob” has a lot to amuse adults too, especially with music and
lyrics from luminaries like Cindi Lauper, John Legend, David Bowie, Brian Eno,
and many, many more. But along with the visual spectacle of amazing costumes,
wigs, projections, and special effects, the sheer auditory volume of this
production is so jarring that you wonder whether children’s’ ears (as well as
adult ears) are being harmed by this technological tsunami.
Making the transition from an animated television show to a
staged production requires a definite suspension of disbelief. The story of a
fast-food worker who becomes a hero when a volcano threatens his community
makes a statement about climate change and racism as much as it plays with the
idea that every-day items (like sponges, for example) can come to life.
Skateboards are a part of the show’s innovative and very clever choreography by
Christopher Gattelli.
The 25 members of the touring company at the Bushnell bring
energy and sass to this musical, and present the audience with a sheer joy that
is contagious. There are some standout performers. Lorenzo Pugliese as
SpongeBob is a charming hero, and Cody Cooley as Squidward Q. Tentacles steals
the show with his energy and characterization. He also gets to perform in one
of the most creative costumes in a show that prides itself on a lot of creative
costumes. Meami Maszewski plays a number of characters, but when she sings in
the role of Pearl Krabs she demonstrates that she has the type of voice that makes
you want to shout, “more, please, more.”
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| Photo by Jeremy Daniel |
“SpongeBob The Musical” is the type of show that is
“theatre” as much as Cirque du soleil is circus. If there is a youngster in
your home who grew up with the television show “SpongeBob SquarePants,” it will
probably be remembered as a cult classic. But for everyone else, it provides a
measure of how theatre can be a technological extravaganza while the actual
story just gets lost at sea.
