‘SPONGEBOB SQUAREPANTS’: Ethan Slater, making a phenomenal Broadway debut bringing the iconic cartoon character SpongeBob to life. Photo: Joan Marcus

SPONGEBOB SQUAREPANTS: THE BROADWAY MUSICAL
Based on the series by Stephen Hillenburg
Book by Kyle Jarrow
Music Supervision, orchestration & arrangements by Tom Kitt
Choreographed by Christopher Gattelli
Directed by Tina Landau
Palace Theatre

Broadway & 47th Street

(877-250-2929), www.SpongeBobBroadway.com

By Scott Harrah

SpongeBob Squarepants: The Broadway Musical is surprisingly one of the best shows of the season and is a welcome respite from an otherwise lackluster fall on Broadway. Based on the hit Nickelodeon TV cartoon that’s been thrilling kids and adults alike since 1999, this original musical has so much colorful, joyful glee going for it, from the effervescent newcomer Ethan Slater as the iconic SpongeBob to clever sets and costumes by David Zinn to infectious songs by everyone from Cyndi Lauper, Sara Bareilles and John Legend to Steven Tyler and Joe Perry of Aerosmith and the late David Bowie, all skillfully and sharply directed by Tina Landau and choreographed by Christopher Gatelli.

One doesn’t even need to have ever seen an episode of “SpongeBob” (though it helps) to enjoy this magical piece of theatrical cotton candy. From the opening moments, when Patchy the Pirate (Jon Rua) takes the stage, followed by two security guards (Vashty Mompoint and JC Schuster), we know this show is all about having fun, and will be like a party. Its originality is ingenious and the pleasure never ends, thanks to a solid book by Kyle Jarrow and tight music supervision, orchestrations and arrangements by Tony and Pulitzer Prize winner Tom Kitt (Next to Normal).

The story is simple: Bikini Bottom, home to SpongeBob and all the whimsical undersea creatures that inhabit the TV show, faces annihilation by an impending volcanic eruption that will destroy everything and everyone. SpongeBob and his “BFF” Patrick Star (Danny Skinner) try to come up with a plan to save the town. Along the way, we meet the many townsfolk, from Squidward Q. Tentacles (Gavin Lee) to Eugene Krabs (Brian Ray Norris), Karen the Computer (Stephanie Hsu) and Sandy Cheeks (Lilli Cooper) to Sheldon Plankton (Wesley Taylor).

Great musicals have outstanding songs, and there are so many here, from the opener “Bikini Bottom Day” to “Hero is My Middle Name” by Cyndi Lauper and Rob Hyman. One of the highlights is “I’m Not a Loser” (written by They Might Be Giants), featuring Squidward Q. Tentacles and his many tap-shoe-covered “feet” doing a show-stopping, razzle-dazzle production number with the tap-dancing Sea Anemones.

There are so many impeccable performances from the mega-talented cast that it’s almost impossible to mention them all, but standouts include Gavin Lee with his snarky take on Squidward Q. Tentacles; Lilli Cooper as the brilliant Sandy Cheeks, the only mammal in this aquatic land; and of course, Ethan Slater as SpongeBob. Instead of wearing a SpongeBob costume, Ethan Slater is a flesh-and-blood incarnation of the famous creature who lives in a pineapple under the sea. Sporting plaid pants and suspenders, Mr. Slater brings an exhausting, stratospheric level of both energy and humanity to the role. There is a natural guilelessness to Mr. Slater and he imbues it flawlessly into SpongeBob, adding the many layers of dimension necessary to bring a cartoon character to life onstage.

Long may Bikini Bottom have a place on Broadway, because SpongeBob SquarePants deserves to run for years and entertain and inspire many with its universal message of teamwork, inclusiveness and hope, making it a badly needed tonic for these troubled times, but it’s also just a lot of harmless merriment and so much fun.

Edited by Scott Harrah
Published December 8, 2017
Reviewed at December 7, 2017 press performance.

‘SPONGEBOB SQUAREPANTS’: Lilli Cooper & Ethan Slater. Photo: Joan Marcus

‘SPONGEBOB SQUAREPANTS’: Wesley Taylor & company. Photo: Joan Marcus

‘SPONGEBOB SQUAREPANTS’: Gavin Lee & company. Photo: Joan Marcus

‘SPONGEBOB SQUAREPANTS’: The cast. Photo: Joan Marcus

‘SPONGEBOB SQUAREPANTS’: Danny Skinner & Ethan Slater. Photo: Joan Marcus

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POSTWAR PARIS, WITH SUBLIME GERSHWIN SCORE: ‘An American in Paris’ is one of the season’s best musicals. Photo: Matthew Murphy

AN AMERICAN IN PARIS
Book by Craig Lucas
Music & lyrics by George Gershwin & Ira Gershwin
Directed & choreographed by Christopher Wheeldon
Palace Theatre
1564 Broadway at 47th Street
(877) 250-2929
http://www.AnAmericaninParisBroadway.com

By David NouNou

When West Side Story opened, one was witness to the dawn of a new form of musical. Yes, it was the story of a boy meets girl, but it was interpreted through a masterful score and propelled by the pulsating movement of Jerome Robbins’ dance. And so it is with An American in Paris; the fusion of the Broadway musical and ballet, set to the sublime music and lyrics of the Gershwin Brothers’ songbook, is an evening of pure enchantment. Forget what you know about the movie, because Christopher Wheeldon, the director and choreographer, has truly reinvented a new, old-fashioned-style musical. He has blended conventional choreography with ballet and come up with the fluidity of dance. Sure, ballet was used in other musicals like Oklahoma and Carousel, but only in small doses. Here it is this fluidity of dance that propels the story forward.

Still set in Paris, the time now is 1945 and the end of the Second World War. Jubilation is slowly coming back to the streets of Paris and Jerry Mulligan (Robert Fairchild), an aspiring artist, decides to remain in Paris and is befriended by Adam Hochberg (Brandon Uranowitz), an aspiring composer (the Oscar Levant role in the movie), and Henri Baurel (Max von Essen), a wannabe singer, and all three are in love with Lise Dassin (Leanne Cope). This is the framework of this musical; to tell you more would spoil the joys that await you. The one drawback of the musical is the book by Craig Lucas, and the forced obligatory humor that has to be injected into a serious musical at various interludes, when dancing stops and speaking begins.

There are a myriad of pleasures that await the viewer. I will start with the most obvious: the Gershwin songbook. Here is a feast to gorge on, thanks to Rob Fisher, who arranged and supervised the musical score. The visuals are a ballet unto themselves. The sets by Bob Crowley and the projection design by 59 Productions, melding into each other with the enchanting lighting by Natasha Katz, are absolutely breathtaking

Robert Fairchild, a principal dancer with the NYC Ballet and making his Broadway debut, almost makes you forget Gene Kelly and totally owns the part of Jerry Mulligan, the artist/American in Paris. His dancing set to Gershwin melodies is magical and uplifting. His body just floats through the air. Leanne Cope, in the Leslie Caron role as Lise, is charming but her part is less demanding and comes to life in the finale.

Now for the comedic roles: Max von Essen finally has broken through to finally claim major recognition. As Henri Baurel, the Frenchman, replete with a French accent and for comic relief destroying American idioms, is also infatuated with Lise. He manages a show-stopping number with “I’ll Build A Stairway To Paradise”…ohhh-la-la. In the Oscar Levant role, now a composer/voice of reason and narrator with comic relief, is Brandon Uranowitz as Adam Hochberg, a man who gets his inspiration to compose through his love for Lise.

I would strongly urge and advise people who are not into ballet or have a fear of sitting through it to dismiss those old phobias, and just go appreciate a “ ‘S Wonderful” score and the magic of this new form of dance on Broadway.

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MAKING ONSTAGE MAGIC: Leanne Copy & Robert Fairchild in ‘An American in Paris.’ Photo: Angela Sterling

FUSION OF THE BROADWAY MUSICAL & BALLET: The company of ‘An American in Paris.’ Photo: Matthew Murphy.

‘AMERICAN IN PARIS’ IS A TRIUMPH: Robert Fairchild. Photo: Angela Sterling

A VISUAL FEAST: Another great production number in ‘An American in Paris.’ Photo: Matthew Murphy

CUTTING-EDGE CHOREOGRAPHY: (left to right) Robert Fairchild, Brandon Uranowitz, Max von Essen & the company of ‘An American in Paris.’ Photo: Matthew Murphy

JERRY MULLIGAN & LISE DASSIN: Robert Fairchild & Leanne Cope. Photo: Matthew Murphy

Edited by Scott Harrah
Published April 17, 2015
Reviewed at press performance on April 16, 2015

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