The Guy Who Didn’t Like Musicals at Apollo Theatre Review
Photo by Danny Kaan.
Written by Amelia for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review. All views are our own
I hear there’s something quite surreal about seeing StarKid finally land in the West End, and the opening night of The Guy Who Didn’t Like Musicals at the Apollo Theatre felt like a genuine event because of it. After years of building a fiercely loyal online following and selling out concerts across London, this marks the company’s first full West End run of one of their original musicals, and the excitement in the theatre tonight reflected that instantly. Directed by Lauren Lopez, with music and lyrics by Jeff Blim and a book by Nick and Matt Lang, the production also reunites many of the original performers who helped make the show such a cult hit online, including Jon Matteson, Joey Richter, Jaime Lyn Beatty, Mariah Rose Faith Casillas and Jeff Blim himself. For longtime fans especially, this must feel like watching an internet phenomenon fully step onto a mainstream theatre stage, and I’m just not sure if that works.
I worry that maybe I just didn’t get it, because this was genuinely the loudest audience reaction I’ve heard in a very long time. There were people dressed up and cheering before the show had even begun, so it’s clear that this production already has a huge cult following behind it. The pre-show announcement even asked audience members who knew the script and songs not to join in, and I can honestly say I’ve never heard a warning specifically asking people not to say the script before. Jukebox musicals asking audiences not to sing along is one thing, but for what I’d personally consider quite a random show to need that kind of announcement, the scale of the fandom was far bigger than I’d imagined.
But while that level of devotion clearly works for existing fans, surely the show should still be able to appeal to newcomers, too. I don’t know if having prior knowledge of StarKid would soften the experience somewhat, but for me, it all fell a little flat. It never felt quite as polished as I wanted it to, and there were noticeable issues with the sound and microphones throughout. The diction also wasn’t always clear, which meant that for the small minority of us who seemingly didn’t already know the show, I missed some of the lyrics, jokes, and smaller nuances along the way.
It’s difficult to fully critique something that I’m aware I probably don’t have the full context for, and the show has definitely left me wanting to learn more about StarKid as a company and the community surrounding them. If this is their first real attempt at a fully-fledged West End musical, then in many ways it’s an impressive achievement for what it is. There’s clearly a huge amount of passion behind it, both onstage and from the audience watching it. At the same time, though, I do think there’s still room for growth, and honestly, that’s completely okay.
The real positive of the show comes from its ensemble. The cast as a whole felt incredibly comfortable with one another, and that chemistry translated effortlessly onstage. Everyone bounced off each other so naturally that even the more chaotic moments still felt tightly connected, and while the performances individually were strong, the vocals were a particular highlight for me throughout the evening from everyone.
Jon Matteson makes for a brilliant leading man as Paul, and perhaps the easiest character for the audience to latch onto amidst all the absurdity. Despite the irony of him being the one who doesn’t like musicals, he acts as a much-needed relatable presence within the chaos of the show. Lauren Lopez, who also directs the production, plays Emma with exactly the right level of sarcastic reluctance, leaning fully into the classic slightly-crabby love interest archetype, and she and Matteson have a genuinely believable chemistry that really anchors the story. The standout for me, though, was Iván Fernández González as Professor Hidgens, who became someone I actively looked forward to every time he appeared onstage. I assume there’s some deeper lore surrounding the character, given the enormous audience reactions to certain moments, but even without that context, he was simply a joy to watch throughout and it was great seeing his comedic side shine so strongly.
The story itself has a lot going for it, with a plot that’s both engaging and consistently funny in the way Jeff Blim’s writing leans into its own absurdity. The score also helps it stand apart from what you’ll currently find on the West End, feeling distinctly different in tone and style rather than trying to blend into the usual mould. At times it does come across more like a play with songs than a traditional book musical, but that actually suits the piece and its slightly chaotic, self-aware energy. Most of the cast also take on multiple roles, which is handled seamlessly throughout, with each character clearly defined through voice, physicality, and overall presence rather than relying purely on costume changes. This is a real credit to the company’s versatility and precision.
The set design by Corey Lubowich was charming and fit the purpose of the show well, with the curtain, for the most part, managing to come down at exactly the right moments. The costuming felt a little more unfinished than I might have liked, but it still suited the overall fun, goofy tone of the piece and its intentionally playful style. It’s hard to pin down exactly what I expected from this show. On one hand, the setting of a well-known West End theatre and the buzz in the audience naturally led me to anticipate something more extravagant and polished. On the other hand, the company’s origins in more modest, grassroots productions and concert-style performances arguably lend themselves to something more informal, slightly unfinished, and ultimately quite lighthearted. From the reaction in the room, it was clear that those already familiar with the group and the material were completely satisfied, and in that sense, the production clearly delivers for its core audience. For anyone coming in, like me, with less context, I’d suggest doing a bit of research or listening beforehand just to know what you’re walking into and adjust expectations accordingly. I can imagine this show being quite divisive between reviewers and fans, and I welcome any feedback about the true magic of Starkid.
The Guy Who Didn’t Like Musicals is currently running at the Apollo Theatre in London for a strictly limited West End engagement from 14–30 May 2026.
★ ★ ★
