While Starkid Productions found its roots as a performing arts organisation through parody musicals – starting with a trio of Harry Potter musicals before delving into an array of other works such as The Trial to Oregon and Twisted, in recent years, they have balanced these parodic endeavours with a line of original productions set in the Hatchetfield multiverse—a realm where not all stories follow a happy narrative. While not all have entered public licensing as of writing, the first and arguably most iconic of these productions – The Guy Who Didn’t Like Musicals – has. For those residing in or around the Gold Coast, Australia, for the next few weeks, you can see the musical at Javeenbah Theatre, tucked away in Nerang, until 22 February 2025.
The Guy Who Didn’t Like Musicals tells the story of Paul Matthews, who never expected to be swept up in a musical adventure — and abhors the very thought of it, let alone attending one. In the unassuming town of Hatchetfield, a meteor crashes into the local theatre, and soon after, the lives of the townsfolk are transformed by bursts of spontaneous song and dance, sparking what can only be described as a full-blown musical pandemic. But far from being a joyous experience, the music conceals a more nefarious plot — one that could lead to humanity being consumed and overtaken by non-human entities, with only Paul and a rag-tag group of personalities standing in the way: his co-workers, a barista, and a doomsday prepper.
The result is a narrative that combines Starkid’s strength in crafting multi-layered, sophisticated stories with a keen sense of humour. I would argue that it is geared more toward a younger audience than most musicals; however, a casual observation reveals that audience members across varied age groups became fully engaged with the production. Ultimately, the memes remain intact, the songs are all present, and a climactic apotheosis awaits the hapless cast on stage.
The on-stage narrative at Javeenbah Theatre stayed true to the original production, enhanced by a few minor ad-libbed moments that added flair to the performance and staging. There were also a couple of minor rewrites to account not only for the slightly larger cast size but also for the gender composition of the ensemble, which lent the show a refreshingly progressive and distinctive character. As with the original, the staging was minimal –with chairs serving as the primary prop — so much of the experience depended on the cast’s ability to command the stage, and for the most part, they nailed it.
Concerning casting, the on-stage talent was diverse—a significant strength of community theatre compared to multi-year national touring productions. This diversity truly captured the idea that these are everyday people, just like you and me, who have found themselves thrust into a musical tragedy waiting to unfold. The cast members’ experience varied widely, ranging from the artistic director of Javeenbah Theatre to those making their community theatre debuts. On the plus side, the pairing of characters with cast members was spot-on—especially with Benjamin Bristow and Sabre Lilly portraying Paul and Emma, respectively. Other highlights included but were not limited to, Jade Goldberg—who excelled in the roles of Zoey, Alice, and Greenpeace Girl; Maegan Weir, who brought Davidson, Sam, and General MacNamara to life; and Jake Goodall in the colourful and incredibly eccentric role of Professor Hidgens. In fact, there wasn’t a single weak performance on stage.
However, as some cast members took on multiple roles, it quickly became evident that the songs were tailored to the original performers’ vocal ranges and capabilities. Consequently, there were a few moments when the actors struggled to hit the right notes. While not immersion-breaking, this issue reflects a limitation inherent in productions where some actors must fulfil several roles.
The band also deserves commendation, with its quintet—guitar, two keyboards, bass guitar, and drums—pulling the show along from start to finish. There were no noticeable issues throughout the performance. Although a couple of scene transitions in the first act could have benefited from a brief jingle to maintain the tone which didn’t, the band did a fine job overall.
In its own right, The Guy Who Didn’t Like Musicals is a production that shines and, in many ways, deserves accolades comparable to those awarded to larger, nationally touring musicals. However, I believe it truly excels in smaller, more intimate theatre environments—where the narrative takes precedence over technical aspects. The Javeenbah Theatre production is also an excellent example of how a show can come to life when performed by a group of artists who genuinely love musical theatre and use their triple-threat skills to deliver a memorable experience. If you find yourself travelling to (or residing in) the Gold Coast in the coming weeks, this enjoyable two-and-a-half-hour experience is well worth your time—even if, like me, you’ve already binged the official StarKid Productions stream multiple times. It hits differently both live and with a different cast.
Here’s hoping that the licensing rights open up for the (currently) two follow-up musicals in the Hatchetfield multiverse — Black Friday and Nerdy Prudes Must Die — and that Javeenbah Theatre brings the trilogy to Gold Coast audiences.
On another note, since I haven’t spoken much about Javeenbah Theatre previously, I should highlight that it is a delightful, intimate 100-seater venue located just off (and only a few streets from) the M1 — a little easy to miss on your first drive by. The theatre exudes genuine community spirit: from posters promoting nearly every production over the past couple of decades to the extremely friendly and helpful staff, and to snacks and drinks that weren’t overpriced. Additionally, and granted I am biased given I just so happened to win it, it was charming to see them host an interval raffle with chocolates and wine as prizes — and again nothing wallet breaking but still in support of the venue. The Gold Coast has some incredible community theatre venues that put on productions year-round that you mightn’t ever see performed at one of the major venues, and Javeenbah Theatre solidifies itself as part of the city’s cultural landscape. I cannot wait to see my next production there!
Final Score for The Guy Who Didn’t Like Musicals @ Javeenbah Theatre
Review tickets were kindly provided by Javeenbah Theatre to facilitate this review of The Guy Who Didn’t Like Musicals.
