Theatre offers us infinite possibilities for storytelling. From the raw passion of Angels In America, to the emotional depth of A Streetcar Named Desire, we are reminded that storytelling can challenge us, move us, and connect us to the shared human experience. Throughout my years as a theatre practitioner, I have experienced the loveliest communities that have embraced one another in the most delightful ways. Yet, I have made an observation that leads to a key question: why does theatre tend to attract theatre addicts and not a broader audience? Well, the answer came to me a while ago. A lot of theatre that we consider good has obvious and strong themes, which is terrific, yet this can seem off putting to the general public. The exception to this phenomenon is when the show’s political meanings are hidden beneath amusement, making it more accessible. So, what two shows have caused me to come to this realization? Two answers: One about SpongeBob, and one about women making greeting cards. Hear me out.
Back in 2019, Spongebob Squarepants: The Broadway Musical made its Canadian premiere in Toronto at Meridian Hall in December. The musical is, of course, an adaptation of the popular Nickelodeon animated series “SpongeBob SquarePants.” In the story, SpongeBob and the residents of Bikini Bottom discover that a nearby volcano, Mount Hummongus, is going to erupt and destroy their undersea world. As chaos ensues and hope diminishes, SpongeBob remains determined to team up with his friends to save Bikini Bottom once and for all. Foreshadowing the pandemic, the musical made comments on fear mongering and division, as some of the characters, like Plankton and his wife Karen, spread misinformation to exploit terror and manipulate others. For instance, Plankton and Karen use the threat of the volcano to advance their own agenda of taking over Bikini Bottom once and for all, which reflects how fear is often weaponized for personal or political gain. The play also expressed themes of solidarity, with characters having to overthrow Karen and Plankton’s corrupt state. Obviously, the play made many political comments, but while I was watching it, I ironically was not thinking about the political themes- I was having fun. It was not until a couple days after I had seen the play that I realized how much it inspired me to reflect on the society around me. I was lost in Ethan Slater’s rendition songs such as “Simple sponge” while watching the play, and later reflected on its political metaphors on the drive home. This made the musical both accessible and politically powerful.
Erased is an influential, original play by Coleen Shirin MacPherson, produced in December 2024 at Theatre Passe Muraille. Set in a dystopian factory where three women work on a conveyor belt, producing greeting cards designed by an AI machine, the play is a representation of the tough conditions of the working class. The workers, under constant surveillance, cycle through tedious, meaningless tasks with the “uppers” (surveillance people) watching them. The atmosphere grows more and more oppressive, with one of the workers named Margie insisting that everyone smile through this hardship. Although there were so many powerful themes being explored in this play, it reminded me of an adult version of SpongeBob the Musical. Although there were not as many goofy musical numbers, there were indeed musical numbers with touches of comedy that kept the play from becoming overwhelming for the audience. Furthermore, a comedic monologue breaks out when one of the characters receives a power rush and explains how if she could, she would cause a genocide. Though dealing with disturbing subject matter, the entertainment of the play immersed me so much that I was able to enjoy my experience at the show. Then, I went home and reflected on the play’s political significance as a working class person myself.
Brecht’s work, specifically in his creation of the alienation effect, provides an interesting lens through which one can view productions like Spongebob Squarepants: The Broadway Musical and Erased. Of course, Brecht believed that theatre should encourage critical thinking rather than relying simply on emotional connection. Concluding that audiences should not become immensely attached to the story and characters in a piece, but rather remain distanced enough to efficiently engage in the political and social commentary, Brecht deliberately removed a sense of barrier. Both Spongebob and Erased take a similar approach and hide political commentary in aspects of humor, absurdity, and sometimes even dark comedy. This, as mentioned prior, ensures that the audience is engaged, yet not overwhelmed. For instance, in Spongebob Squarepants: The Broadway Musical, the beloved character Squidward embodies frustrations of being stuck in a meaningless lower class job, and the desire to do more in life. Squidward has a huge musical number entitled “I’m Not a Loser”, in which he struggles to escape his own cynicism. The song, although comedic, comments on societal expectations in a manner that maintains distance effectively. In Erased, the comedy of the polished movements as the three ladies sit behind the conveyor belt provides us with the barrier that Brecht is so fond of, yet allows us to reflect on the difficulty of a lackluster job as well.
To conclude, if you are a new theatre goer and are trying to find the right play to introduce yourself to the art form- here’s my advice. Maybe steer clear of the classics for now and find a play such as Erased or Spongebob Squarepants: The Broadway Musical. Both draw on aspects of black comedy that makes them accessible to a more general audience, but do not rob you of the experience of thinking about the society around us.