NEWPORT — Morgan Locklear likes to joke that The SpongeBob Musical might be aptly dubbed “The Family Circus.” Given the company makeup, he’s not far off the mark. He’s also been known to refer to the Porthole Players as “The Comeback Kid” — likewise, apt.  

Only two years ago, as the pandemic came to an end, the future of the Porthole Players — like many small theater companies in Oregon — was a big question mark. Not only was the company in need of new, younger blood, but it also needed someone who knew something about fundraising.

But today, as the Porthole Players stage The SpongeBob Musical, it’s doing so with a gusto that suggests it’s going to be around for a while. The musical, running Fridays, Saturdays, and Sundays through Nov. 30, is the largest of its kind to be staged at the Newport Performing Arts Center. Its orchestra — students included — is fully paid. And in terms of dedication, two of its cast of 40 drive more than an hour each way — sometimes daily — to be there. (And if you think that’s not a big deal, you’ve probably never made the holy-%$#@-where’s-the-road drive from Newport to Florence at night — and probably in the rain or fog or both).

“The show has 159 costumes, 95 props, 200 light cues, and a company of over 70,” said Locklear, who is directing the show. “No other show has been more expensive, more time intensive, and has so many extra elements. We were given a grant by the Siletz Tribe to pay the orchestra, and the Oregon Coast Aquarium has sponsored us, which is not a common partnership. All this is to say that the county is all-in on this production.”

The Siletz grant came about after Locklear decided he wanted to pay the students in the orchestra but also realized it would cost the small company thousands of dollars.

“Normally, when you have students in the orchestra, students don’t get paid,” he said. “Professional musicians get paid, but the students don’t, and we really wanted to buck that, but as a nonprofit, that’s an extra thousands of dollars. If we commit to that, it’s nice on paper, but in practice, it really dents your budget.”

So, Porthole reached out to the Siletz Tribal Charitable Contribution Fund, and the tribe came through with enough to pay everyone in the orchestra.

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The Oregon Coast Aquarium also came through, not only with financial support, but also offering the company the use of space to host its production meetings.

Locklear, who has been part of Porthole Players since childhood, chose The SpongeBob Musical for this year’s show for two of what may be the best reasons for picking any musical. There’s the music, of course, but coming in a close second is Locklear’s son, Cameron, who is making his debut as the music director.

“The music is kind of rock and roll, and Cameron is an accomplished musician and has played in a lot of orchestras, but this is his first time conducting.” Locklear said. “He really liked it, because it wasn’t going to be overly challenging. The songs are really short, really fun. You know, rock and roll music from rock and roll superstars. It’s charming.” (Rock superstars whose songs turn up include David Bowie, Cyndi Lauper, and Steven Tyler.)

The plot of the show involves a volcano threatening to erupt and bury the town of Bikini Bottom. While some people rally to save the town, others give up, following a leader who deals in misinformation.

It’s silly and upbeat with larger-than-life characters, but for all the crazy antics, there is an underlying theme that makes the show particularly appropriate for the times, said Layla Wells, 17, who landed the role of Plankton.

“I play the villain, which is incredibly enjoyable — I get to be evil and loud, and it’s just a blast,” Wells said. “I also appreciate the overall message of the show. It has a political angle: The people don’t want to be controlled. It’s an important message, but it’s delivered in a fun, musical, lighthearted way.”

The family connection includes seven members of Locklear’s family — besides himself and his son, the show includes Morgan’s wife, Jennifer Locklear, the producer; daughter Abby Locklear, the percussionist; sister Tracy Meister, the mayor; niece Sydney Meister, in the role of Sandy Cheeks; and brother-in-law Mark Meister is in charge of sets/props and the stage crew.

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As the show was cast, Locklear realized the family element didn’t end there. “A lot of parents decided to audition with their kids,” he said. “SpongeBob drew them in. It really is a family circus. There are seven parent/kid combos.”

Considering Locklear’s nearly lifelong connection with Porthole Players, it’s not surprising it’s something of a family affair.

“Porthole raised me,” Locklear said. “If it wasn’t for Porthole, I would have just been the goofy-looking blind kid. But then Porthole turned me into the goofy-looking blind kid who could sing and act and dance and gave me an identity in Newport that wasn’t about my disability. That has always been a source of supreme gratitude.”

That was why, when the company asked him to help turn things around three years ago, he didn’t hesitate to say yes. Nor did his family. Jennifer, a grant writer, became the company fundraiser, and Cameron signed on as a board member, lending a younger perspective.

“We have an incredibly strong board now,” Locklear said. “We’ve gotten ourselves back on track.”

Next season, the company will stage Chicago, an older production but still one of the top 10 musicals in the U.S., Locklear said. It’s producing shows like Chicago, along with a few other changes, that Locklear believes will ensure Porthole Players not only makes it to 2028 to celebrate its 50th anniversary, but also thrives long after.

“One of the main reasons why Porthole is on really solid ground is that we understand now that a theater company can’t just do plays to make money; we have to make money to do plays,” he said. “That’s why we’ve been applying for grants, and why we’ve had several fundraisers, and why we have partnered with other companies. It allows everyone to breathe a little bit easier about any one given project.

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“Having a fundraiser on board, having a very active board of directors who are really engaged and passionate, and then choosing really engaging musicals that have piqued the curiosity of the community, have really been instrumental in putting us on really solid ground.”