Hello Reddit SpongeBob Musical Fans!

I’m interested in making a production of The SpongeBob Musical: In Roblox!

The idea is still very new, and the project is currently in development. Nothing has been officially confirmed yet, and I’m mainly making this post to see how much interest there is from SpongeBob and musical theatre fans.

If there’s enough interest, I’d love to eventually bring the musical to life in Roblox with a cast, sets, scenes, and performances inspired by the actual production.

So, would you be interested?

I’d especially like to hear from people who are fans of The SpongeBob Musical and/or theatre and would actually want to participate in or watch a Roblox production.

At the moment, I’m just gauging interest before moving further with the project.

If this is something you’d want to see, let me know what you think!

GOOGLE DOCUMENT FOR DETAILED INFORMATION AND CASTING PROCESS:

https://docs.google.com/document/d/19HM_fqjQJNsXGR5zPp_Gj0gIat0Ht5g6UtI4yhoCu_0/edit?tab=t.itut40ngtlt1

I normally find endless speculation on hypotheticals that will never occurr quite tiering and useless, and this is in some form no different, but I still can't stop thinking about it.

Disclamer: I am taking the interview with David Ives and Joe Mantello as a base-line. While there is the possibility of them both portraying themselves in the best light, I do think that they were trying to recount the history of the show's development as accurately as possible and I am inclined to believe them in most if not all that they have said in that interview.

I do think the show works the way it is now, but it was not the ideal show the creators had envisioned for the longest time during its development and it is my believe that the show would have been much stronger with songs on the qualitative level of the first act. Songs could have given the core characters the emotional depth of their personal revalations that Ives' script was not able to fully realise in my opinion. The pivot to the version we have now was a last-ditch effort to save a show motivated by Joe Mentello and was basically the best version to ever realistically be finished and put on the stage.

The big things that seemed to have led to Sondheim slowing down and getting stuck at the moment of the character's entrapment are (in no particular order as I cannot in good conscious weigh the importance of these factors against each other):

Reasons for the general slowness of his progress:
-his age (of course) and the natural health complications,
-his famous procrastination,
-his perfectionism and fears of living to up the expectations of the sondheim legend,
-his collaborator David Ives not being able to set meaningful deadlines for him,

Reasons for the complete standstill of progress, stopping after Mariannes bear encounter:
-his need for a change in the feel and style of the score from that critical and pivotal narrative point on,
-COVID, which made the very dark situation of the trapped characters in a room all to real for the quaranteened composer, turning him off of working on the show as a whole and focusing his attention back to All Together Now for almost a year before being presented with Joe's idea in May of '21.

Now let's imagine an ideal scenario with sondheim 10 or 20 years younger, with more strength, without COVID, with Ives being a bit more willing to push Sondheim when needed like for example Hal or Lapine was able to, how do you think the part of the show that is now song-less should/could have been musicalised?
During all the time of them working on the show and Davids script basically done until the rewrites of '21, there must have been thrown around and thought about many song ideas for the second act (like in any production history of a musical). Where do you think would songs have been placed and what would they have focused on, how would sondheim have approached the last scenes musically, what form would the content have dictated?

The reason why this does not feel like another meaningless hypothetical to me is because I am someone very interested in how musicals are written (specifically by sondheim) and I am a musician/composer myself that is next to my main field of study/work (Jazz) at least intellectually interested in writing musicals. Unfinished works are endlessly fascinating and even seductive in such a situation. You have everything set already. It's like one of the puzzles that sondheim loved so much. It is daunting trying to start writing or conceptualising a whole new musical, but continuing an unfinished project is something else entirely. This post may fit equally well into r/musicalwriting for that reason.

Like all works of music left partially unfinished because of the death of the creator, be it Mozart's requiem or Bach's unfinished fugue; at some point people will seriously try to finish the masters work. It requires an enormous ego to think that one could concur the mountain that the Giants were not able to climb. Which may be why these attempts often reveal more of the completionists own interpretation and feelings towards the original work and creator rather than the original work.

Nevertheless I can't wait to hear what people will come up with in the future.
I cannot imagine myself ever seriously commiting to writing or composing anything related to the second act of Here We Are, but that does not stop one from dreaming of what could be/could have been. I may too, like sondheim at the end of his life, be more interested in thinking and talking about writing a musical, than actually writing it.

I am sorry it is 2 am and I need to sleep. If you think this is a stupid and unproductive thing to think about, that's fine, I just needed to write this down and share it with people and maybe discuss some ideas.

Hello! My name is Leonardo Campos, and along side Marcelo Cantu, we wrote, composed, and developed this idea for over 2 years. Finally, when we got the opportunity, we decided to direct, produce and finance it in only 1 month. This is the result:

We are proud to present a PROSHOT of what was performed on May 29th at our High School.

ACT 1 of A SOLDIER'S NAIVE HEART: https://www.youtube.com/watch?v=Mp4TCnsZL1g&t=2s

The show is still in development (currently mixing a CAST ALBUM and writing ACT 2), but we’re continuing build it with Broadway as the destination.

This is where the road begins. Let me know what you think!

Join Heath Sauders on August 29 at 3 pm (EST) as they present on Diversity Dramaturgy - an exploration of how writing to the bodies you intend to cast affects the writing of the show, and the positives and pitfalls of writing specifically to identity markers.

Check out Heath's website for more information about their work.

https://www.thesaunderscollective.com/heath-saunders

I'm very excited for this subject, as I think it's an important one to consider as we write new works for the stage in 2026 and beyond.

If you're interested, comment or shoot me a DM, and I'll post the group link.

Searching for your creative soulmate? They could be waiting for you at Composer-Librettist "Speed Dating" on Saturday August 22nd at 5pm! 

Join us for the 2nd Annual Composer‑Librettist "Speed Dating" Event at First Unitarian Church LA (2936 W 8th St), presented by Overtone Industries in collaboration with Synchromy Music and Rent Poet. 

This event pairs artists who want to tell bold, contemporary stories through opera—and if that's you, you'll want to snag your ticket before we run out of space. 

What to expect:

> In a series of timed conversations, you’ll explore new collaborations with like-minded composers and librettists.

> You'll also have the opportunity to enjoy performances from Kion Heidari, Rae Shrum, Hsin-Hua Wang, and Ianthe Marini performing works from TIME IS THE ENEMY by Samara Rice and Brian Sonia-Wallace and HYSTERIA by Molly Pease and Divya Maus, both previous productions of Original Vision.

> Afterwards, we'll host a short reception for more mixing, mingling, snacking, and connection!

Don't miss it! Register to join a room full of opera-makers ready to build the next wave of original opera‑theater...

Five Against One tells the story Catherine Burbank as she seeks escape for her family from an abusive marriage of 15 years, but escape is never the safest plan. Inspired and powered by the music of the Grunge era, this play takes an unflinching and sobering look at domestic violence and its consequences.

One reader of an earlier draft characterized it as "This would be what we'd have got if Tennessee Williams ever wrote a musical."

As you might infer from the title, there are 6 characters - 4 women and two men. While I've been working on this play for over 20 years, this year I joined a writer's cohort within the ShowLAB Theatre Writers Studio. Since late February the play has completely transformed, and while I've conducted readings of the whole work multiple times, it is overdue for a complete end to end reading (the cohort has read individual scenes within it).

There's a discord attached to this subreddit, so I figure that would be as good a place as any to host a reading, although I'm open to suggestions to other platforms.

I do NOT want to do a cold read - the play's topic is domestic violence. While I would like an audience of those interested, the readers need to have read the play through at least once so that they know what to expect and can be prepared. I don't necessarily need the readers to have rehearsed ahead of time.

The script is 133 pages so should take just over 2 hours to read. (Act I is 70 pages, Act II is 63. It is formatted identically to the Ragtime Musical script for reference, with a 2nd act a pinch longer than Ragtime's).

I'll probably cross post this in a few spots, but this is the origin thread and will be used for the actual organization of the read. I'm thinking of a weekend date since I work a 9 to 5 job.

Characters

Catherine Burbank, age 36, a housewife (alto): A woman with a troubled past of child abuse, drug addiction, and a stint in the porn industry.

Pamela Burbank, age 14, her daughter (soprano): A high functioning autistic child coming of age in one of the worst environments possible.

Jeremy Burbank, age 16, her son (tenor): A little slow but with a good heart, he's devoted to the protection of his family but lacks the means to do so effectively.

Susan Martin, age 70, her mother (contralto): A catholic zealot who uses the scripture to justify her hatreds. She abused Catherine as a child physically, and continues to do so verbally even though she's an adult.

Lisa Allen, age 15, her neighbor (coloratura soprano): Lisa's father, now deceased, was deeply in love with Catherine and wanted her to divorce Jake. Her mother died when she was two, so Catherine has been the closest thing she has to a mother for most of her life.

Jake Burbank, age 40, her husband (bass): Pillar of the community, one of the highest ranking unelected police officers in the city. His public character is unreproachable. But privately...

EDIT: BTW, Catherine, Susan, Pamela and Jeremy are of Cajun descent and all can speak this dialect of French. There are French phrases scattered throughout the play, mostly terms of endearment. Susan has the most French lines. Preparing for this is another reason I'd rather not cold read this - I don't want to put someone on the spot to muddle through a phrase in a language they don't know.