Seeing iconic television shows from your childhood adapted to the stage is not something that often happens, especially not in the case of an animated American comedy. However, after watching The Spongebob Musical successfully come to life in the Hippodrome theatre last night, it appears that this is an untapped market that should be explored further.

Following the typical good versus evil plot of every Spongebob Squarepants episode, in this musical, Spongebob and his aquatic friends find themselves fighting to save their home in Bikini Bottom. As a news report reveals that the nearby volcano Mount Humongous is about to erupt and the villainous Plankton hatches yet another tenuous scheme to achieve ocean domination, it is up to Spongebob to be the hero and save the day, alongside his sidekicks Patrick and Sandy, of course. 

…this is an untapped market that should be explored further

Whilst this storyline may seem simple, if not juvenile, there are a number of subtextual references at play that give it more of a political edge. This begins with the stay-at-home order issued by the mayor, which is reminiscent of the restrictions imposed during the Covid-19 pandemic. Following this are jabs at the ineptitude of bureaucratic red tape with ‘inquests’ and ‘reports’ leading to no action, despite society’s blind trust in their leadership. Perhaps the most pertinent commentary related to the issue of climate change and people’s refusal to accept scientific facts in the face of scaremongering and scapegoating. Director Tara Overfield Wilkinson notes: ‘I was very keen to bring the harsh reality of plastic and waste that are found in our beautiful waters into the story’, which explains the choices made regarding props and costume. 

Set designer Steve Howell mentioned how ‘the brief was to include recycled elements where possible’, and the use of plastic bottles to create the volcano was a visual reminder of the effects of marine pollution. Indeed, the entire presentation of Mount Humongous was cleverly crafted with moving triangular staircases highlighting the endlessness of the trek to the peak. The most visually aesthetic moments were Squidward’s tap dance number, which took place against a silver confetti streamer backdrop that sparkled in the spotlight, and the scenes with props that included iridescent jellyfish umbrellas and neon sponges lighting up the black, deep sea background.

…it was the physicality of the performers that did these costumes justice…

Costume designer Sarah Mercadé did a fantastic job of capturing the essence of the cartoon characters through clothing. Whilst I was disappointed to see the absence of structural shaping for Spongebob’s squareness and Patrick’s 5-pointed star, the elevated looks were still just as effective. My favourite looks by far were Karen’s metallic mini skirt, which had the perfect amount of volume, and Plankton’s outrageously tall boots, which featured a hilarious little caricature of the mischief-maker himself. However, nothing was more memorable than Squidward turning around to unveil an extra set of stuffed legs pinned perfectly to the back of his trousers.

Nevertheless, it was the physicality of the performers that did these costumes justice, whether it was Gareth Gates strutting on and off-stage with his hands on his hips, or the chorus of sardines shimmying their shift dresses from side to side. The entire cast wholeheartedly committed to their roles and executed them perfectly. The various voices and accents put on by Lewis Cornay (Spongebob Squarepants), Chrissie Bhima (Sandy Cheeks) and Richard J Hunt (Eugene Krabs) were spot on. Divina De Campo and Hannah Lowther had a brilliant chemistry between them as the wicked couple rekindling their love for one another. Although he failed to nail the dumbed-down muffle of Patrick’s voice, Irfan Damani timed the humour of his lines with precision and his joke about Spongebob’s ‘management skills’ left everybody in the room roaring with laughter. 

Special mention must be given to Sarah Freer (Pearl Krabs), whose exquisite vocal belts floated over the reef of audience members. The musicians who formed the Electric Skates band did an incredible job of encapsulating the different musical genres of each song, which ranged from heartfelt ballads like ‘(I Guess) I Miss You’, composed by singer-songwriter John Legend, to the hip-hop diss track ‘When the Going Gets Tough’, by rapper T.I., on which De Campo did not miss a single word. Whilst violinist Eleanor Turianksy was a wonderful violinist, the addition of her dancing around with her instrument disrupted certain moments, particularly when everyone was lined up at the end. 

…the performance was worthy of its standing ovation

In terms of sound, the various bits and bobs used very conspicuously by the cast to mimic the noises from the show were both accurate and entertaining. Sound designer Ben Harrison’s choice to add a reverb to the microphones produced a hauntingly beautiful echo that bounced off the walls in a way that recreated the depths of the ocean. The use of dolphin squeaks to block out expletives was an ingenious detail that helped establish the fact that we had been transported to Stephen Hillenburg’s world. This was also made clear through Eloise Davie’s imitation of Gary’s meows and Alex Gaumond’s French voice-over, which shone in the ‘Five hours later…’ bit.

Despite the flaws within the musical itself, which are primarily due to the fact that some of the numbers feel slightly long-winded, the performance was worthy of its standing ovation. Experiencing the cheesiness first-hand and watching children’s faces light up at the sight of bubbles floating down from the ceiling is a reminder that although Squidward is right in his claim that ‘the world is a horrible place filled with fear, suffering and despair’, evenings like this one where you can escape to the theatre are there to bring the light from Mr. Sun. 

The Spongebob Musical will continue playing at the Hippodrome in Birmingham until Saturday 15th April 2023.

Rating: 4/5

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