SpongeBob and his Bikini Bottom friends set sail in their biggest, all-new, can’t miss cinematic event ever…The SpongeBob Movie: Search for SquarePants. Desperate to be a big guy, SpongeBob sets out to prove his bravery to Mr. Krabs by following The Flying Dutchman – a mysterious swashbuckling ghost pirate – on a seafaring comedy-adventure that takes him to the deepest depths of the deep sea, where no Sponge has gone before.

***Please note NO EVENING SHOW December 29, 2025 for Spongebob

SpongeBob and his Bikini Bottom friends set sail in their biggest, all-new, can’t miss cinematic event ever…The SpongeBob Movie: Search for SquarePants. Desperate to be a big guy, SpongeBob sets out to prove his bravery to Mr. Krabs by following The Flying Dutchman – a mysterious swashbuckling ghost pirate – on a seafaring comedy-adventure that takes him to the deepest depths of the deep sea, where no Sponge has gone before.

The Metropolitan Opera’s 2025–26 Live in HD season comes to a close with a live transmission of American composer Gabriela Lena Frank’s first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Music Director Yannick Nézet-Séguin conducts the Met-premiere staging of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker.

Tchaikovsky’s many moods—tender, grand, melancholy—are all given free rein in Eugene Onegin. The opera is based on Pushkin’s iconic verse novel, which reimagines the Byronic romantic anti-hero as the definitive bored Russian aristocrat caught between convention and ennui; Tchaikovsky, similarly, took Western European operatic forms and transformed them into an authentic and undeniably Russian work. At the core of the opera is the young girl Tatiana, who grows from a sentimental adolescent into a complete woman in one of the operatic stage’s most convincing character developments.

The electrifying Lise Davidsen tackles one of the ultimate roles for dramatic soprano: the Irish princess Isolde in Wagner’s transcendent meditation on love and death. Heroic tenor Michael Spyres stars opposite Davidsen as the love-drunk Tristan. Mezzo-soprano Ekaterina Gubanova reprises her signature portrayal of Brangäne, alongside bass-baritone Tomasz Konieczny, who sings Kurwenal after celebrated Met appearances in Wagner’s Der Fliegende Holländer and Ring cycle. Bass-baritone Ryan Speedo Green makes an important role debut as King Marke.

I Puritani was the final work from Vincenzo Bellini, the great Sicilian exponent of the bel canto style of opera. It was written specifically for the talents of four of the best singers of its day, and the opera’s success depends almost entirely on the vocal abilities (and artistic sensibilities) of the performers. Its depiction of madness—both in individuals and in communities—is extraordinary: The opera suggests that the veneer of sanity can slip away at any moment, that madness can plunge a person into a destructive abyss.