Review: The Spongebob Musical - MIDAS

Society name: MIDAS

Show name: The SpongeBob Musical

Date of attendance: 13^th March 2026 

MIDAS, the Mary Immaculate Dramatic Arts Society, brought the weird and wonderful world of ‘The SpongeBob Musical’ to life on the stage of the Lime Tree Theatre, Limerick, in a production that was energetic and visually striking. We were treated to a colourful, theatrical experience that fully embraced the spirit of its source material, the much-loved Nickelodeon animated series. It is a show that celebrates diversity through the eclectic nature of life under the sea. Its world of Bikini Bottom has a rich variety of quirky characters and the MIDAS cast embraced this quirkiness with relish as they presented a truly diverse community thriving on individuality, as they faced impending doom with boundless hope and positivity. The premise is quite bonkers but this production really struck a chord as it handled its themes with sincerity and a great deal of fun. 

The Lime Tree Theatre is a fabulous venue and the front of house was warm and welcoming, setting a very positive tone from the moment we arrived. The foyer was bustling on the final night of the production and there was a great sense of anticipation as the capacity audience arrived. Front of house staff were friendly and everything appeared to run seamlessly from an organisation point of view. There were some nice decorative touches as we entered the auditorium, subtly suggesting an undersea environment. 

Bróna McGlinchey directed with a very confident and assured hand, fully embracing the humour and heart of the show. It was clear that Ms. McGlinchey understood the show’s unique tone as she captured the zaniness of the original animated series whilst at the same time ensuring that the narrative was clear and engaging throughout. She showed a strong instinct for comedy and, at the same time, managed to explore themes of friendship and courage which give the show its emotional depth. Staging was consistently strong. Particularly noteworthy were the disciplined and well-executed ensemble ‘freeze’ moments, which were enhanced so well by the lighting design. 

Michael Young’s musical direction was exceptional throughout. The orchestra handled the eclectic nature of the score, which spans a wide range of musical genres, with great flair and exceptional musicianship. Principal vocals were strong throughout. However, the most memorable musical element of the production was the exceptional quality of the choral singing. The ensemble sound was full and balanced, with exceptionally clear and precise harmonies. At the top of Act Two, Mr. Young even made a brief cameo appearance, being ‘plucked’ from the audience to join the band at the piano. It was a fun moment that showed not only his musical expertise but also his willingness to embrace the playful world of the production. 

Emily Flynn’s choreography was very successful overall, capturing the quirky, offbeat energy and eccentric world of Bikini Bottom so well. Choreography was well-rehearsed, sharply executed and full of energy. The opening, ‘Bikini Bottom Day’, set the tone with a lively and engaging routine. ‘(Just A) Simple Sponge’ incorporated some strong technical elements, featuring nine dancers with luminous ‘sponges’. It was a very effective routine and an impressive visual spectacle. ‘Super Sea Star Savior’ was an equally impressive number that showcased superb movement throughout, with excellent performance levels and animated characterisation from the wonderful Sardines chorus. The end of Act One was especially strong, with ‘Tomorrow Is’ featuring sharp, precise movement from the full cast. Squidward’s big number, ‘I’m Not a Loser’, with its unexpected tap sequence, was very well executed and highly entertaining from the beautifully presented Sea Anemones and was one of the most memorable choreographic moments of the show. 

Casting the part of SpongeBob correctly is a crucial part of this musical, as so much of the production hinges on the energy and charisma of the performer in the title role. MIDAS was blessed to have Grace Guilfoyle in this iconic role, delivering a thoroughly engaging performance. Ms. Guilfoyle had a most likeable and infectious presence. She had an almost cartoonish physicality which helped bring the animated nature of the role vividly to life. Vocally, she showed impressive power and range. She was particularly impressive in ‘(Just A) Simple Sponge’, where her vocal control and emotional connection were evident. Ms. Guilfoyle successfully carried the heart of the show with a performance full of sincerity and hope. A most endearing performance overall.

Paddy Hogan’s performance as Patrick, SpongeBob’s loyal best friend, was equally endearing. Mr. Hogan had a most likeable understated stage presence as he captured Patrick’s childlike innocence in a most charming way, creating a funny and engaging character from the outset. His standout moment came in the energetic ‘Super Sea Star Savior’, which was one of the musical highlights of the show. ‘I Guess I Miss You’ showed a more reflective side and a beautifully melodic vocal that added to Patrick’s emotional depth. 

Síofra Cantillon-Mann delivered a very strong performance as everyone’s favourite squirrel, Sandy Cheeks, bringing intelligence, energy and great stage presence to the role. Sandy is a character full of determination and Ms. Cantillon-Mann captured this with superb confidence. She balanced this strength very well with the humour and warmth that make Sandy so appealing. An exceptional mover and dancer, she brought great physical precision to her performance. She sang with great strength and clarity, most notably in ‘Chop to the Top’, which she drove with real authority. 

Maebh O’Mahony was a very funny Squidward, bringing a great blend of sharp comic timing and superb physicality to the role. Squidward is a character that requires an exaggerated style of performance and movement and Ms. O’Mahony rose to the challenge with confidence. Her use of physical comedy was excellent throughout, with her fantastic range of facial expressions adding so much to the comedy of the show. Her standout moment came in ‘I’m Not a Loser’, where she fully embraced the fun and theatricality required. 

Jacob Froehlich gave one of the standout performances of the evening in the role of Sheldon J. Plankton, bringing great energy and a wonderfully mischievous edge to this iconic villain. Vocally, he was equally impressive. He had a strong singing voice, especially in ‘When the Going Gets Tough’. His interactions with Karen the Computer were very funny. The dynamic between the two was very well played, adding greatly to the comedy of their scenes. I particularly enjoyed how he revelled in being referred to as the “Big Guy”. Overall, a very confident and entertaining performance, full of character and comedic flair. 

Andrew Keegan was highly entertaining as Eugene Krabs. He really understood the character’s larger-than-life personality, leaning into Krabs’ money-driven mindset and exaggerated bravado with great confidence. His performance was full of exaggerated energy which added greatly to the humour throughout. He too, had great comic timing. He also impressed musically, contributing well to ensemble numbers and standing out in ‘(Just A) Simple Sponge’. ‘Daddy Knows Best’ was delivered with great comedic confidence.

Aoife McNelis gave a very accomplished and funny performance as Karen the Computer. The consistency of her machine-like voice was most impressive. Maintaining this throughout the performance is no small feat, yet Ms. McNelis sustained it with superb control, bringing great authenticity and quirkiness to the character. She skilfully balanced Karen’s dry wit with a subtle menacing edge, but still managed to display an unexpected charm that made her a rather likeable villain. 

Shauna Normoyle showed that there is no such thing as a small part, with her impactful performance as Pearl Krabs. She made the very most of her stage time, bringing confidence and energy to the role of Eugene Krabs’ daughter. Her singing was particularly impressive.  ‘Daddy Knows Best’ was a highlight of the evening, showcasing her excellent range, power and control. 

Darragh Clancy was very entertaining as the intrepid reporter Perch. Popping up at various points throughout the show to deliver updates, he was very funny each time he appeared. His delivery was most engaging, with a well-judged comic style. 

Eimear Leonard deserves particular praise for her performance as Patchy the Pirate, stepping into the role at a moment’s notice due to the illness of another cast member. She approached the role with confidence and had a wonderful sense of energy and enthusiasm throughout. She clearly enjoyed moments of audience interaction, both in the pre-show and again at the top of Act Two, adding to the overall sense of fun. 

Ciara Reidy, Laia Rose Keogh and Eimear Leonard gave very enjoyable performances as the trio of Electric Skates, Bikini Bottom’s stylised backing group. They were particularly impressive in terms of movement. Performing on skates, they displayed excellent control and confidence, executing choreography on wheels while maintaining character and presence. No mean feat indeed! Their singing was equally impressive with a very well-balanced and polished sound with excellent harmonies and confident delivery. 

‘The SpongeBob Musical’ relies heavily on a wide array of supporting characters to help create the bizarre world of Bikini Bottom and all of these roles were performed to a high standard. There were strong contributions from Emma Fry as the Mayor of Bikini Bottom, Matthew O’Rourke as Old Man Jenkins, Jack Doheny as Larry the Lobster, Orlaith Mullins as Mrs. Puff, Éadaoin Ní Ríordáin as the French Narrator and Abby Kelly as Buster Bluetang. Each performer brought energy and character to their roles, ensuring that even brief appearances were memorable. Particular mention must go to Katie Forde Downes in the role of Gary the Snail. Despite not uttering a single intelligible word, she gave one of the most memorable performances of the evening. Her cat-like “meows” had the audience in fits of laughter from start to finish.

The ensemble was excellent throughout and obviously had a clear understanding of the humour and style required. It was evident that much work had taken place in rehearsal, with the cast fully in tune with the quirky, high-energy nature of the piece. What really stood out were the excellent performance levels. This cast was enjoying every single moment on stage and it showed. Choral singing was outstanding, indicating a huge amount of preparation and musical talent. Above all, this was an ensemble that fully embraced the zaniness of the material. 

Stage Manager Faye Heffernan and her team did a great job in ensuring the smooth running of the production, as they kept a strong sense of flow throughout. Transitions were consistently slick and efficiently executed, allowing the show to move seamlessly from scene to scene without any noticeable delays or disruptions. This contributed greatly to the overall pace of this fast moving show. 

The set design was simple but imaginative and highly effective, capturing the playful, colourful world of Bikini Bottom so well. Particularly striking was the use of individual set pieces, such as SpongeBob’s pineapple house, to represent key locations within Bikini Bottom. These were functional and visually appealing, allowing for swift changes, as required. The design also made good use of levels and staging space. Platforms and raised areas provided opportunities for varied staging and were used to full advantage. 

Lighting was a standout element of the production. There was a particularly effective use of colour throughout, reflecting the bold, animated roots of the show. This was especially evident in numbers such as ‘Super Sea Star Savior’, where exciting colour changes and movement combined to create an excellent visual spectacle. The use of follow spot was very well handled. This was complemented by thoughtful use of specials, most notably in ‘I’m Not a Loser’, where the sharply timed spot on Squidward was used to excellent comic effect, cutting in and out to add to the humour of the moment. There were also some lovely atmospheric touches. The use of haze worked particularly well in establishing the underwater setting. UV lighting in ‘(Just A) Simple Sponge’ was especially effective in creating a lovely piece of theatrical magic. 

Sound design for this production was exceptional throughout. There was an excellent balance within the band, with a well-judged mix that was most refreshing. Vocals were expertly handled. EQ levels were very well set, ensuring clarity and warmth in both dialogue and singing. Principal vocals carried beautifully. The ensemble work was especially impressive. Whether onstage or offstage, the balance of harmonies was superb, creating an exceptionally full and polished choral sound. 

Costume design was vibrant, imaginative and entirely in keeping with the colourful, animated world of SpongeBob. Rather than relying on literal recreations, the costumes cleverly suggested character through colour and detail. This ensured that each character remained instantly recognisable. There were a number of standout costumes throughout the production. Perch’s technicolour suit perfectly reflected the flamboyance of the character and made sure that he stood out in every appearance. Sandy’s white jumpsuit was another excellent design. Squidward’s additional legs were a superb piece of costuming, seamless and highly effective, adding greatly to the physical comedy 

Props were generally well chosen and appropriate to the quirky, offbeat nature of the show. The props team clearly embraced the playful tone of the show. Items such as the giant toothbrush and the wonderful stretching sofa were very funny. The protest signs were particularly effective, with their witty slogans such as “Land Mammals Go Home,”. There were a couple of minor areas that might have benefited from attention. Given the nature of the show, Perch’s microphone might have been more flamboyant rather than the handheld style used. The misspelling of the ‘Mount Humongous’ sign was also rather unfortunate, given the attention to detail in other areas. 

Hair and makeup were a crucial component of the overall visual and the team rose admirably to the challenge, creating this colourful undersea world. The exaggerated cartoonish look was embraced in both makeup and wigs to great effect. Vibrant colours reinforced the animated origins of the piece and added to the overall visual impact.

This was a vibrant, energetic and thoroughly entertaining production that captured the heart and humour of this charming show so well. This was a very strong collaborative effort, where direction, choreography, musical direction and technical design combined so well to create the colourful, immersive world of Bikini Bottom. There were very strong performances across the board, with a strong principal cast and superb work from a very committed ensemble. Above all, MIDAS’s production made quite the splash as it embraced the core messages of optimism, the importance of supporting one another and the celebration of individuality; valuable messages indeed for the world we live in today. 

Pat McElwain

Sullivan Adjudicator 2025/2026