Review: THE SPONGEBOB MUSICAL at Fairfield

Center Stage
The musical is based on the long-running Nickelodeon cartoon from Stephen Hillenburg. By Sean Fallon Jun. 18, 2022

I was fascinated from the moment I first heard that Fairfield Center Stage was going to perform a
musical called THE SPONGEBOB MUSICAL, as I did not previously know that such a musical
existed. What I knew, however, is that if it is being put on by Fairfield Center Stage, it is going to
be a phenomenal production!

On Friday, June 17th, I had the pleasure of experiencing Fairfield Center Stage's continued
commitment to providing excellent theater that goes that extra mile, when I saw THE
SPONGEBOB MUSICAL on opening night, at Fairfield Ludlowe High School in Fairfield, CT. Director
Joel Fenster, musical director Benjamin Doyle, choreographer Lindsay Johnson, artistic
director Christy McIntosh-Newsom, and Executive Producer Eli Newsom all combine their talents
with the rest of the crew and this stellar cast to give the audience yet another first-rate
performance!

I greatly enjoyed this contemporary musical which was based on a cartoon series by Stephen
Hillenburg. The book for this musical was written by Kyle Jarrow, with original songs by Yolanda
Adams, steve Tyler & Joe Perry, Sara Bareilles, Jonathan Coulton, Alex Ebert, The Flaming Lips,
Lady A., Cyndi Lauper, John Legend, Panic! at the Disco, Plain White T's, They Might Be Giants,
and T.I., and songs by David Bowie, Tom Kenney, & Alex Paley. Additional lyrics are by Jonathan
Coulton.

Sound designer Chris Gensur's sounds were excellent and tremendously enhanced by extremely
talented Foley artist Shea Frimmer whose sound effects truly stand out in this show to the
point that it is essential to mention just how fantastic they are. Highlighted by the consistent
sounds when Squidward walks, this show truly brings sound effects to a whole new level that
deeply enhances the entire performance.

Marcelo Calderon leads the cast as Spongebob Squarepants, the central protagonist. Marcelo
Calderon wonderfully portrays this highly likeable character, nailing the speaking voice of
the cartoon character. Spongebob has a positive attitude even while surrounded by
pessimism. He is committed to spreading optimism among his town, looking on the upside of
whatever comes his way. Spongebob wants to become a manager at the Krusty Krab, the fast
food restaurant in which he works.

Jacob Rogotzke excels as Patrick Star, Spongebob's highly likeable friend. Jacob Rogotzke brings
energy and joviality to this role in a way that perfectly fits and defines the character.
The stage chemistry between Marcelo Calderon and Jacob Rogotzke help sell both of
their characters and the dynamics between them.

Alexis Willoughby brings a strong and consistent southern drawl to Sandy Cheeks, the central
female protagonist, who is a squirrel from Texas. Sandy often feels like she doesn't fit in with the
undersea community, feelings enhanced by the fact that some unkind members of that
community go out of their way to make her feel like an outcast and an inferior whose perspective
is less worthy of being heard. Nevertheless, Sandy has a better idea than anyone else in the
community as to a potential way to save them all from being wiped out by the impending
eruption of a volcano. Alexis Willoughby shines in this role, even maintaining the southern
drawl while singing, with every note on key.
Executive Producer Eli Newsom shows us his amazing acting, singing, and dancing talents
on stage in the role of Squidward Q. Tentacles, a pessimistic, yet highly likeable squid. Eli
Newsom delivers every line with feeling, conviction, and high believability. Squidward's
goal is to star on stage, thereby dispelling childhood criticism that he still emotionally struggled
with. Highlighted by the song "I'm Not a Loser," which also features some amazing
choreography and dancing, Eli Newsom brings this character to life.

Brian Crook is convincing as Mr. Krabs, the owner of the Krusty Krab restaurant. Mr. Krabs is
obsessed with the pursuit of money, even to the point where he comes across as caring more
about money than he cares about his daughter.

With a combination of strong stage skills that would be impressive for any age, teenage actress
Ainsley Dahlstrom thrives in the role of Pearl Krabs, who is Mr. Krabs' teenage daughter. Ainsley
Dahlstrom brings the perfect amount of spunk and sass to this role, while also
authentically conveying and provoking the necessary emotions to generate sympathy
for her character and sensitivity to her character's feelings. In addition to her acting and
dancing, Ainsley Dahlstrom's incredible singing voice is also showcased in this role, with the
audience applauding at one point, just hearing her singing voice, even though it was
not a conventional applause time for the show.

The main antagonists are the scheming couple of Sheldon J. Plankton and Karen the Computer,
wonderfully portrayed by Jonathan David and Ashley McLeod respectively. The dynamics
between the two of them are very convincing, and the villainy very believable. The
voices they use to convey their characters enhance the feel of the characters.

Steve Autore steals the show as Patchy the Pirate who breaks the fourth wall before the show
officially starts, by preparing the audience for the show, fully in character. Steve Autore's pirate
voice, expressions, and mannerisms are spot on, making Patchy the most comical
character in the show. Patchy also leads a musical number called "Poor Pirates," in which Steve
Autore retains the pirate voice while singing.

CJ Newsom is highly entertaining whenever he goes from one side of the stage to the
other in the role of Gary the snail, a role that is scheduled to be performed by Virgil Watson IV in
some performances. Some other standout roles include Marcelle Morrisey as the mayor, Virgil
Watson as Perch Perkins, Brian Bish as Mrs. Puff, Mia Tommins as Larry the Lobster, James Hisey
as Old Man Jenkins, Erik Sanchez Gomez as Buster Bluetang, Shea Frimmer as the interactive
Foley artist, Steve Benko as the French narrator, and Jacob Litt, Isaiah Rodriguez, and Aleeki
Shortridge as the Electric Skates […].

The orchestra greatly enhances the show, too. Lead by musical director Benjamin Doyle on
keyboards, the orchestra that is in the traditional location of being off the stage, in front of the
stage, also features Gabe Nappi on drums, Charles Casimiro on bass, and Kate Heidemann on
reed […].

I highly recommend THE SPONGEBOB MUSICAL, which is scheduled to continue to run through
June 25, 2022, with the caution that for those who are seizure prone, there are some brief
blinking light effects. For times and tickets, please go to tickets.
 Review: ‘Hamilton,’ Young Rebels Changing History and Theater
HAMILTON NYT Critic’s Pick Broadway, Musical 2 hrs and 45 min.
Open Run Richard Rodgers Theater, 226 W. 46th St. 877-250-2929

By BEN BRANTLEY AUG. 6, 2015

Yes, it really is that good.

At this point, it would be almost a relief to report that “Hamilton” — the musical that opened at the Richard Rodgers
Theater on Thursday night — has shrunk beneath the bloat of its hype. Since it was first staged at the Public Theater this
year, this brave new show about America’s founding fathers has been given the kind of worshipful press usually reserved
for the appearances of once-in-a-lifetime comets or the births of little royal celebrities.

During the past several months, while it was being pumped up and trimmed down for its move from the East Village to
Broadway, Lin-Manuel Miranda’s rap-driven portrait of the rise and fall of Alexander Hamilton (this country’s first
secretary of the Treasury) has been the stuff of encomiums in both fashion magazines and op-ed columns. A friend of
mine recently said that there were three subjects she never wanted to see in a newspaper again: Caitlyn Jenner, the
Harper Lee novel “Go Set a Watchman” and “Hamilton.”

Even I, one of the many critics who enthused about “Hamilton” in February like a born-again convert in a revival tent,
was beginning to think, “Enough already.” Then I saw the show at the Richard Rodgers.

Why ‘Hamilton’ Has Heat

I am loath to tell people to mortgage their houses and lease their children to acquire tickets to a hit Broadway show. But
“Hamilton,” directed by Thomas Kail and starring Mr. Miranda, might just about be worth it — at least to anyone who
wants proof that the American musical is not only surviving but also evolving in ways that should allow it to thrive and
transmogrify in years to come.

A show about young rebels grabbing and shaping the future of an unformed country, “Hamilton” is making its own
resonant history by changing the language of musicals. And it does so by insisting that the forms of song most frequently
heard on pop radio stations in recent years — rap, hip-hop, R&B ballads — have both the narrative force and the
emotional interiority to propel a hefty musical about long-dead white men whose solemn faces glower from the green
bills in our wallets.

Washington, Jefferson, Madison — they’re all here, making war and writing constitutions and debating points of
economic structure. So are Aaron Burr and the Marquis de Lafayette. They wear the clothes (by Paul Tazewell) you might
expect them to wear in a traditional costume drama, and the big stage they inhabit has been done up (by David Korins)
to suggest a period-appropriate tavern, where incendiary youth might gather to drink, brawl and plot revolution.

But these guys don’t exactly look like the marble statues of the men they’re portraying. For one thing, they’re black or
Hispanic. And when they open their mouths, the words that tumble out are a fervid mix of contemporary street talk,
wild and florid declarations of ambition and, oh yes, elegant phrases from momentous political documents you studied
in school, like Washington’s Farewell Address.
And you never doubt for a second that these eclectic words don’t belong in proximity to one another. In mixing a broad
range of references and rhythms in one percolating style, Mr. Miranda — who wrote the book, music and lyrics of
“Hamilton,” which was inspired by Ron Chernow’s 2004 biography — does what rap artists have been doing for years.
It’s the immoderate language of youth, ravenous and ambitious, wanting to claim and initial everything in reach as their
own.

Which turns out to be the perfect voice for expressing the thoughts and drives of the diverse immigrants in the
American colonies who came together to forge their own contentious, contradictory nation. To quote from an oft-
repeated phrase in this almost entirely sung-through show: “Hey, yo, I’m just like my country, I’m young, scrappy and
hungry, and I am not throwing away my shot.”

Those words are declaimed by Mr. Miranda as Hamilton, an impoverished orphan newly arrived in New York from St.
Croix, but they might be tattooed on the consciousness of most of the characters in the play. These include Burr (the
suavely brooding Leslie Odom Jr.), Hamilton’s friend, rival and nemesis, who functions as a wondering, embittered
narrator to his confrere’s meteoric rise; Washington (Christopher Jackson); Jefferson (a delightfully dandyish Daveed
Diggs, who doubles as Lafayette) and Madison (Okieriete Onaodowan).

They are each fully rendered individuals, as are the three women in Hamilton’s life, blissfully embodied by Phillipa Soo
(as his wife, Eliza); Renée Elise Goldsberry (as her sister, Angelica Schuyler); and Jasmine Cephas Jones (as Maria
Reynolds, the adulterous lover who brings about Hamilton’s fall from grace). The ballads that define the triangular
relationship among Hamilton, Eliza and Angelica have a romantic urgency and ambivalence that had me in happy tears.

There’s a breathless rush to those numbers. And nearly all of the score — directed and orchestrated with precise and
infinite variety by Alex Lacamoire — is infused with the same sense of momentum, of a wave that you ride or drown in.
And the gymnastic corps de ballet, choreographed by Andy Blankenbuehler, gives further, infectious life to that feeling
of perpetual motion, of a speeding, unceasing course of human events. (The use of a revolving stage in a set has seldom
seemed more apt; this world never stops spinning.)

Mr. Miranda’s Hamilton, a propulsive mix of hubris and insecurity, may be the center of the show. But he is not its star.
That would be history itself, that collision of time and character that molds the fates of nations and their inhabitants.
You might even call history the evening’s D.J., making sure there’s always something to dance to.

Mr. Kail beautifully sustains this sense of collective lives in motion throughout. It feels right that while the numbers here
have been scaled up and shined up for a big Broadway house (Mr. Odom’s jivey “The Room Where It Happens,” a wicked
meditation on being a political outsider, is now a full-fledged showstopper), you never feel that any single performer is
pushing for a breakout moment. Well, with one exception.

That’s King George III (a delicious Jonathan Groff, who replaced Brian d’Arcy James during the run at the Public). He sings
an entirely different tune as he observes, from across the Atlantic, that his colonial subjects are revolting, in all senses of
the word. His is the voice of vintage Britpop, rendered in a leisurely, ironic, condescending vein to a distant population
he regards as savages.
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COMMENTS
George is funny, fun company. But ultimately, it’s not his story. “Hamilton” is, among other things, about who owns
history, who gets to be in charge of the narrative. One of its greatest accomplishments is that it leaves no doubt that
these scrappy, adrenaline-charged young folks, with their fast way with rhyme that gives order to chaos, have every
right to be in charge of the story here.

In temperament, they’re probably a lot closer to the real men who inspired this show than the stately figures of high
school history books. Before they were founding fathers, these guys were rebellious sons, moving to a new, fierce,
liberating beat that never seemed to let up. “Hamilton” makes us feel the unstoppable, urgent rhythm of a nation being
born.

Broadway Review: ‘Disney Aladdin’

The magic-carpet ride is magical. The Cave of Wonders is wonderful. And yes, you’ll
hear the tunes you loved in the 1992 movie. But the notion that “Disney Aladdin”
somehow resurrects the spirit of the late Howard Ashman, who had the original
inspiration for the movie and contributed most of its clever lyrics, is a joke. Restoring
a person’s work without respecting his artistic sensibility is no tribute at all.

If this super-costly Disney extravaganza doesn’t really represent Ashman’s artistic vision, whose
vision does it reflect? Chad Beguelin (“Elf,” “The Wedding Singer”), who wrote the book and
contributed new lyrics, obviously plays a significant role, as does Alan Menken, who scored the
film and wrote new songs for the show. Even more so does helmer-choreographer Casey
Nicholaw (“The Book of Mormon”), who stylistically turns the film’s romantic fairy-tale adventure
into shtick comedy.

Bob Crowley, a six-time Tony winner (for Disney’s “Aida” and “Mary Poppins,” among others), is
likely to pick up another one for imaginative sets that capture both the fun and the storybook
wonder of the folk tale. For the eye-popping opening number, “Arabian Nights,” Crowley has
designed a colorful marketplace in the kingdom of Agrabah that is visually anchored by revolving
setpieces that telescope into whimsical new forms. He uses the same telescoping technique in
the Cave of Wonders, where towers of treasure (cast in golden lights by Natasha Katz) await
Aladdin.

Working from what looks like a million-plus budget, costumer Gregg Barnes (“Kinky Boots”)
makes a dazzling first impression with vibrant colors and graceful silhouettes, and rich materials
that are intricately embroidered and elaborately ornamented. But in the spirit of overkill that
comes to define the entire production, the costumes become so heavily encrusted with bling, it’s
a wonder anyone can move in them.

How thesps carry their costumes is a fair indicator of how they carry their roles. Adam Jacobs,
who is young and cute enough to have played Simba the lion cub in “The Lion King,” is a
personable performer with a pleasant enough voice to make an appealing Aladdin. He stiffens up
in the princely garments of “Prince Ali of Ababwa,” the bogus monarch whose identity Aladdin
buys with the first of his three precious wishes, but he unbends and puts his heart into “Proud of
Your Boy.” And he’s quite charming in “A Whole New World,” the gorgeous number that takes
Aladdin and Princess Jasmine (Courtney Reed, unkindly stuck in a ghastly belly-dancer schmatta)
on their magic carpet ride.

The versatile James Monroe Iglehart not only pulls off his garish Genie costume; he practically
walks off with the show in “Friend Like Me,” an extremely flashy production number that, at one
preview performance, was a bona fide showstopper. When Robin Williams riffed on the same
number in the movie, he fooled around with funny voices and celebrity sendups. Iglehart, a big
man with a big man’s capacity for play, shows off Genie’s magical powers by turning to the
Broadway musical-theater canon — starting with Disney’s own “Beauty and the Beast” and “The
Little Mermaid,” and moving on to classic shows like “West Side Story, “A Chorus Line,” and even
an “Arabic” interpretation of “Fiddler on the Roof.” The conceit doesn’t say much for
choreographic originality, but, hey, it works. And Iglehart sells it.

Other changes to the original material are less successful, especially the contemporary updates
to book and lyrics that replace the tone of fairy-tale innocence with show-queen vulgarity. And
then there are the variations that are downright disastrous: It was a really bad idea to replace
Iago, the sardonic parrot familiar of the evil vizier, Jafar (Jonathan Freeman, as impressive as he
was in the film), with an annoying human henchman played by an annoying actor. A worse idea
was replacing Abu, Aladdin’s rascal monkey friend, with three of the hero’s dumber-than-dirt
slacker pals. As for the cheap jokes sprinkled throughout the book, the most unspeakable one
comes in the prologue, when Genie produces a tacky miniature of the Statue of Liberty and
excuses himself for “a little pre-show shopping.”

Oh, you don’t mean to say that there might be a profit motive in all this?