The SpongeBob Musical? I’ll admit I went in with one eyebrow slightly raised. Did we really need a song-and-dance adaptation of a kids’ cartoon about a nerdy sponge who lives in a pineapple under the sea? By the end of the show, I was nodding “yes”, singing along with the theme tune with hundreds of others, and thoroughly won over by its exuberant and contagious positivity.
I doubt I’m the only sceptical convert in the seven years since this surprise hit premiered. When it first transferred from Chicago to Broadway in 2017, The SpongeBob Musical was the first stage show based on an animated kids’ programme to make it to the Great White Way. It was a critical hit, too; tied with Mean Girls, it was the most-nominated show at the 2018 Tonys with 12 nods.
The premise is simple: SpongeBob SquarePants wakes up with the unshakable belief that every day could be the best ever. There’s nothing he takes for granted as he kisses his pet snail goodbye, goes to his job as a fry chef in a fast-food restaurant, before popping by later to his best friend’s house to marvel at the wonder of bubbles together. Sure, he’s a little sad that his boss doesn’t believe that he’s good enough for a promotion to management – but hey, there’s always tomorrow! That is until news of the impending eruption of a nearby volcano means that there’s only one day to prepare for the end of the world, and our spongey hero has to find a way to stop the destruction of his precious hometown, Bikini Bottom.
As the eponymous SpongeBob, Lewis Cornay is a delight. From his nasal tone to his stringy, bouncy physicality, he uncannily embodies the character we know so well, no boxy sponge costume necessary. The extended opening night applause after “(Not a) Simple Sponge” is completely warranted; Cornay’s belting, wide-ranging voice is excellent. Oddly, an array of popular artists provide the show’s soundtrack of original songs – John Legend, Brendon Urie and Sara Bareilles all get credits. The music is bubbly enough, but it does miss out on a uniform sound to bring it all together.
The cast, however, is excellent. Though SpongeBob is our central figure, there’s no shortage of talent among the ensemble and supporting cast. Irfan Damani is loveable as Patrick Star, a dim-witted starfish, and brings a soulful baritone sound to his solos, while Sarah Freer – as spoilt, bratty teen whale Pearl – has a show-stealing vocal performance in “Daddy Knows Best”. Tom Read Wilson, best known for his receptionist duties on Celebs Go Dating, is a fabulous Squidward – a melancholy, four-legged squid with dreams of the stage.
Understandably, a lot of the content here is aimed at younger viewers. But the writing doesn’t mistake silliness for stupidity – it presents tough concepts like loneliness and prejudice in a simple, satisfying way. For the adults, there are fun Easter eggs at every turn. The warning graphics for the volcano eruption are (chillingly) similar to the red and yellow Covid lockdown notices, while the useless town mayor gravely tells her citizens that “mistakes were made” in the handling of the crisis. A talent show advertises performances from artists such as Cod Stewart and the Spice Gills, plus the volcano being made from plastic bottles highlights real-world environmental anxiety.
A musical based on an animated series about an underwater talking sponge isn’t going to be for everyone – the couple next to me mysteriously didn’t return to their seats after the interval. But the six-year-old sitting a row behind was giggling all the way through, as were plenty of adults. This is not just a simple show about a (not) simple sponge – it’s an uplifting, sweet tale about friendship and the power of community. Underestimate it at your peril.
‘The SpongeBob Musical’ runs at London’s Southbank Centre until 27 August
