“SpongeBob SquarePants,” which officially opened last week to surprisingly positive reviews, is the first musical in Broadway history based directly on a TV cartoon series.
That said, it follows in the path of many earlier musicals based on cartoon characters from comics, children’s books, films and even a graphic novel. Below are some of the most interesting cartoon-based musicals, most of which were flops.
(This list omits all of Disney musicals that have played Broadway — such as “The Lion King,” “Aladdin” and “Beauty and the Beast” — because they derived from films that were musicals to begin with.)
‘Li’l Abner’
Al Capp’s newspaper comic about the oddball hillbillies of Dogpatch, USA (which ran in newspapers from the ‘30s through the ‘70s) was made into a colorful and rambunctious musical comedy in 1956. Despite its catchy score and freewheeling humor, it has yet to receive a major revival, likely because its satirical targets come from Eisenhower-era politics. The 1959 film version resembles a recreation of the original Broadway production.
‘It’s a Bird … It’s a Plane … It’s Superman’
In 1966, Hal Prince (then beginning to branch out from producing to directing) made the first attempt to bring a comic book superhero to Broadway. It didn’t work, but the musical has since found a cult following thanks to its campy sensibility. A 2013 Encores! production at City Center was highly enjoyable.
‘You’re a Good Man, Charlie Brown’
Since its Off-Broadway premiere in 1967, this revue about the “Peanuts” kids (who are usually portrayed by adult actors) has been wildly popular thanks to its tender songs (“Happiness,” “My Blanket and Me”), adorable sketches and minimal cast and scenic requirements. The 1999 Broadway revival added Sally Brown as a character and two new songs, including “My New Philosophy” and made Kristin Chenoweth a star overnight.
‘Annie’
“Little Orphan Annie” debuted in 1924. Half a century later, Charles Strouse, Martin Charnin and the late Thomas Meehan turned Harold Gray’s comic strip into one of the most successful musicals of all time. Sure, “Annie” may be overexposed, but it’s an extremely well-written work that contains dark clouds as well as sunny anthems. The 2012 Broadway revival was a misfire, but it continues to be performed just about everywhere. In fact, it can currently be seen at New Jersey’s Paper Mill Playhouse, with a cast led by Tony winner Beth Leavel as the villainous Miss Hannigan.
‘Seussical’
This dense 2000 musical combines numerous characters (Horton the Elephant, Cat in the Hat, Gertrude McFuzz and so on) and plot lines from the illustrated children’s books of Dr. Seuss. Following a tumultuous Broadway premiere, it was extensively revised. In September, it was named the fourth most produced musical by high schools during the 2016-17 school year.
‘Shrek’
Unlike the Disney musicals, the 2008 Broadway adaptation of the 2001 computer-animated film comedy “Shrek” contained a new score. It too achieved popularity only after striking out on Broadway. It is No. 3 on the high school popularity list. The original Broadway production was filmed and can be streamed on Netflix.
‘The Addams Family’
Following the 1960s TV series and 1990s film versions, Charles Addams’ kooky and spooky cartoon characters came together in a widely panned 2010 musical starring Nathan Lane and Bebe Neuwirth as Gomez and Morticia. Like “Seussical,” it has undergone substantial rewrites and is currently number one on the high school popularity list.
‘Spider-Man: Turn Off the Dark’
Seven years ago, the now legendary first public performance of “Spider-Man” (with a rock score by Bono and The Edge and direction by Julie Taymor) took place. It lasted about four hours. Then came the longest and most notorious preview period in Broadway history, during which time Taymor was fired, multiple actors suffered injuries and production costs reached unprecedented heights. For an insider account, check out Glen Berger’s memoir “Song of Spider-Man.”
‘Fun Home’
In 2013, the Public Theater premiered an innovative, emotionally piercing musical adaptation of Alison Bechdel’s graphic novel about her childhood in 1970s suburbia, sexual awakening in college and difficult relationship with her repressed father. The following season, it came to Broadway and became an unexpected Tony-winning hit. Now that its national tour just ended, regional and amateur productions ought to start popping up soon.
