Review: The Guy Who Didn’t Like Musicals (Apollo Theatre)

Review by Daz Gale

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Cast your mind back to 2018 - it may just be eight short years ago, but it also feels like a lifetime thanks to the Covid years. Trump was President, Stranger Things was one of the most talked about shows on television, and a biopic of a late, legendary musician wowed audiences at the cinema (Bohemian Rhapsody). Ah, what a different time it was. 2018 was also the year Starkid took the internet by storm with the release of The Guy Who Didn’t Like Musicals on YouTube. After dipping a toe into London waters with concerts at the Palladium in 2024 and 2025, StarKid are finally having its first West End run with the show that has helped them grow their devoted audience in the eight years since its premiere. But with times being so "different" now, would this musical make my heart sing with joy, or would it somehow manage to turn me from a musical lover to a guy who doesn’t… You get the idea.

There are two types of people in this world - Starkid obsessives and StarKid virgins. There are probably more types of people in between those vague generalisations, but just go with it. I, somehow, fall into the latter. Despite my obsession with musicals, I must admit to having never watched any of StarKid’s videos before, even though friends and colleagues have raved about them to me for years. If you are unaware of who they are, let me give you a quick rundown. 

StarKid have been creating musical comedies since 2009, when A Very Potter Musical quickly made them famous and even helped launch the career of its founder, a certain Darren Criss (whatever happened to him?) Their large following was built up through sharing these videos for free on YouTube, where they have produced 15 full-length musicals in the space of 17 years. Their brand has extended beyond these videos, with concerts, fully staged productions (like this one), and even topping the charts.

That brings us nicely on to The Guy Who Didn’t Like Musicals. Paul Matthews is the guy in the title, but there is more to this story than him simply not liking musicals (nobody’s perfect). His ordinary life is rocked when an alien entity crashlands in his tiny town of Hatchefield. What kind of terrors are they planning to unleash? A musical. As the townsfolk suddenly transform into all-singing, all-dancing performers with perfectly timed choreography, Paul has to find a way to stop this nightmare, all the while trying to win the affections of barista Emma and deal with the weird and wonderful characters he meets along the way. Will he manage to stop the horror, or will his life succumb to a very different kind of showstopper?

This was my first time experiencing a StarKid show and a StarKid audience, for that matter, and it almost felt like sneaking into a cult… in the very best way. Many of the audience dressed as characters from the world of StarKid Productions, with the energy and excitement palpable from before the show had even started. Huge applause began from the moment the first actor appeared on stage, and rarely let up throughout, with debut appearances and every scene transition met with applause. The enthusiasm and affection were as infectious as an alien musical disease, resulting in what may be the loudest audience I have ever been a part of. The die-hard fans were rewarded with references to other characters and callbacks to other StarKid shows - while a lot of these went over my head, I could see the joy they brought the audience, and how rich the world they have created clearly is.

Written by Matt and Nick Lang, The Guy Who Didn’t Like Musicals is wickedly funny, while never being afraid to cross the line into darkness, resulting in a beautiful blend of horror. The laughs are never far away, though, with some brilliant one-liners, ridiculously stupid punchlines and a whole lot of absurdist humour. While not every joke tickled me as much as others (again, this may be because of my lack of in-world knowledge), I can safely say a smile was always on my face in this frequently funny and unashamedly silly show. The ironic title sets the tone perfectly, with the plot allowing the characters a good excuse to burst into song randomly for no apparent reason (a complaint people who genuinely don’t like musicals often have). This creates a fabulous theatrical world that feels right at home on the stage, and holds its own against the legendary musicals neighbouring it on Shaftesbury Avenue.

Of course, a musical needs good songs - no matter how much you can claim not to like them, and this one has them in spades. Created by Jeff Blim, they manage to pay homage to classic tropes, genres and even specific shows and songs with their selection, while admirably standing on their own two feet. The songs are always catchy (like an alien m… never mind) with the opening title number setting the tone perfectly. ‘La Dee Dah Dah Day’ feels like the illegitimate, over-the-top lovechild of Disney and La La Land, and I was living for it, while act one closer ‘Join Us (And Die)’ lets the audience out into the interval in a way only StarKid can.

Many of StarKid’s members have flown over to reprise roles in this production, with Jon Matteson a fantastic leading man as Paul Matthew. Though he may be in the title, he allows the rest of the cast to shine in what is essentially an ensemble show, and that is why this show succeeds as strongly as it did. Jeff Blim demonstrates some truly insane vocals as Sam Sweetly, leaving me wondering if he actually is human or if the aliens have already had their way with him - and if that is the result of alien interference, can I get some of that too?

Jaime Lyn Beatty, Corey Dorris and Mariah Rose Faith Casillas all have their own moments of brilliance in their roles in a production where the talent speaks for itself, consistent and equally impressive in a cast where there really is no weak link. Joey Richter gave a larger-than-life performance as Ted, with some scene-stealing moments in a comparatively smaller part. Lauren Lopez showcases that there are no limits to her talents, first in a stunning performance as Emma Perkins, filled with out-of-this-world vocals and a magnetic stage presence, and then as the director of this production. Each choice Lopez makes is faultless, bringing a sense of precision and a great knack for comic timing in her strong and solid direction.

There is one cast member who is making his StarKid debut, and he just happens to be the standout of the entire show. I have seen Iván Fernández González in several shows over the years, but never have I seen him quite as good as he is here. As Professor Hidgens, he isn’t just scene-stealing; he is scene-destroying, leaving trails in his wake that feel impossible to fill, such is the genius of his performance. The versatility in the performance shows his impressive range, with incredible vocals, dancing and an impeccable sense of comic timing in his acting, setting him up as a triple-threat. All of this comes together in the appropriately titled showstopping number ‘Show Stoppin’ Number’ - the greatest sequence in the show, and among the very best I have seen this year. The cast may all be fantastic in their own way, but this magnificent performance from González will certainly be one I remember for a long while yet.

I mentioned Lauren Lopez’s fabulously comedic direction, and that is brought to life with outstanding choreography from James Tolbert. Never underestimate the importance of comedic choreography, and these choices land some of the funnier moments effortlessly. A good use of lighting from Brandon Brauch brought a fun set design by Colin Lawrence to life. Unfortunately, the performance I attended was marred with a few tech issues, with one scene showing the stage crew moving the stage, taking away some of the magic and wonder of it all (though that is the beauty of live theatre) and a fair few missed cues on sound, meaning the impact on some of the lines was lost. However, this was only the second performance of their limited two-week run, and teething problems are always possible and easily forgiven.

I may have been a StarKid virgin upon entering the Apollo Theatre, but I am pleased this was the show to introduce me to their wonderful world. While not every reference landed with me, it has left me longing to see more from them, and I am already planning a dive into their online works. Whether you are a die-hard fan or an absolute stranger to them, there is still plenty on offer for anyone to enjoy, no matter how well-versed you are in the lore of StarKid.

To create a world as rich as the one StarKid have, and then take their unique brand of stories to theatres around the world is a testament to their skill and creativity. At times, The Guy Who Didn’t Like Musicals reminded me of Police Cops The Musical and Operation Mincemeat - two shows created by other comedy troupes who are experts in their field, and that is the highest compliment I can give anyone, given how much I love both of those shows. So where do I stand on this show? Well, to quote Simon Cowell (somebody who used to say how much he didn’t like musicals on his shows), I didn’t like this musical… I loved it!

The Guy Who Didn’t Like Musicals plays at the Apollo Theatre until 30th May, with all tickets currently sold out. Check https://theapollotheatre.co.uk/tickets/the-guy-who-didnt-like-musicals/ for returns or late release tickets.

Photos by Danny Kaan