"The Guy Who Didn't Like Musicals". Keble O'Reilly. Review by Anuj Mishra

The Guy Who Didn’t Like Musicals is a bit of a clunky name, but it is usefully descriptive. But musical haters beware, this show is very much a musical, and a fabulously joyful one at that. 

The show tells the story of Paul, a small-town guy who doesn’t like musicals, who bumbles around his office (which has an array of The Office style co-workers) and punctuates his days with visits to the coffee shop for a glimpse of his ‘latt-ay hott-ay’ love interest, Emma. On the night a touring production of Mamma Mia! comes to town, a meteor strikes, infecting the townspeople with a singing-dancing-murdering hivemind. It is up to Paul and Emma (and Paul’s co-workers) to save themselves from the existential threat of joining the inescapable chorus line – for nobody can stop the beat. 

By the ending, the musical-virus reveals itself as a code for a sort of Trumpian jingoism that infects this slice of Nowhereville, America. As we stand at the edge of a second term, this felt as timely as when the show opened five years ago. 

The original musical is a StarKid production, which will mean something to anyone who was a chronically online theatre kid in the 2010s, and absolutely nothing to anyone else. StarKid Productions started out as a student group at Michigan University, which wrote musicals smattered with pop culture references which then went viral on YouTube – most famously, A Very Potter Musical, which was Darren Criss’ big break (Criss went on to star in Glee). StarKid are, therefore, a fabulous example of a student production company that made it. 

I gloss this background information to emphasise that this is a musical for and of the ‘theatre kids’. Its comedy arises from a thoroughly normal person railing against the cult of musical theatre – and it truly is a cult – to an intensely funny effect. 

This production, directed by Iona Blair and Sali Adams, boasted a remarkably strong ensemble cast, each of whom – except the lead – juggled multiple roles and innumerable quick changes. Their love and knowledge of the show was evident, and their sheer joy was palpable. In this show, every other line is a gag of some description, and each of these were delivered hilariously.

The leading role of Paul was played by Matt Sheldon – who I struggled to sympathise with, for I love Mamma Mia! Otherwise, he played role of the objectively sane musical-hater charmingly, though his singing abilities were, true to form, more of a Pierce Brosnan than a Meryl Streep. His chemistry with Rebecca Harper was excellent, and Harper shone in both the musical and non-musical roles her character demands, especially in the spectacularly meta curtain call.

As for the ensemble, Josh Bruton’s Travolta-esque gyrations and contorted facial expressions made for excellent physical comedy, though I fear for the state of his falsetto come Saturday. Erin Swyn’s sense for comedy and singing voice were remarkable, and Theo Wright’s solo number was a true highlight. Supported by a four-piece band, under the direction of Maddie Lay, the production successfully deposited all the joy of a Broadway spectacular into a trope-heavy student piece.

The show was let down at moments by poor sound balancing and the house lights randomly coming up in the middle of one scene. However, the cast took these moments in their stride, and simply belted louder and laughed off any awkwardness. At one point, almost everyone onstage broke character to join the audience in rapturous laughter, and it really didn’t matter – this show knows what it’s trying to achieve, and does so with flair.

At the Keble O’Reilly, until 23rd November. Runtime: 135 minutes, including interval. 

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