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The ensemble indicates in the first number that the protagonist, Paul, has a great dislike for musicals (“The Guy Who Didn’t Like Musicals”). Then we meet Paul and his coworkers, Bill, Ted, Charlotte, Melissa, and their boss, Mr. Davidson.
This scenario demonstrates Charlotte’s strained relationship with her officer husband, Sam, as well as Bill’s strained relationship with his daughter, Alice.
Paul travels to the coffee shop around the corner, where we meet Emma, a barista with whom Paul has a crush. She is dissatisfied with the new workplace incentive to sing when tipped.
That night, a meteor crashes into the Hatchetfield starlight theatre, bringing with it an extraterrestrial sickness that drives the infected to act as if they are in a musical, unbeknownst to Paul.
As he walks to work, he notices people dancing in the street before being challenged by a Greenpeace worker who bursts into song, with the rest of the people nearby joining in (“La Dee Dah Dah Day”). He returns to work, perplexed, to discover that the same thing has happened to Mr. Davidson (“What Do You Want, Paul?”). Also, you must try to play this Which TGWDLM Character Are You quiz.
Which TGWDLM Character Are You?
Fearful, he rushes to the coffee shop, where it appears Emma has also been infected, however, her singing was only more musical incentives from her boss, including a specific song and dance that she later performs with her coworkers (“Cup of Roasted Coffee”). After the song goes on for much longer than it should, Emma and Paul discover that the coffee is poisoned, people are infected, and the world is turning into a musical (“Cup of Poisoned Coffee”).
After fleeing, they locate Paul’s coworkers cowering in an alley but are approached by Sam, Charlotte’s husband, and his fellow police officers who have been infected (“Show Me Your Hands”). Ted strikes Sam over the head with a trash can lid after singing, while the other officers flee. The group transports the injured Sam to Professor Hidgen’s house, one of Emma’s community college lecturers and a doomsday survivalist.
To keep Sam from escaping, the group ties him to a chair. Sam awakens when alone with his wife and persuades Charlotte (through song) to untie him, allowing him to kill and infect her (“You Tied Up My Heart”). Meanwhile, Emma and Paul share a touching talk about their backgrounds and ambitions. The infected Charlotte and Sam appear out of nowhere, encouraging the survivors to “Join Us and Die.” They attack the group, but Professor Hidgens shoots and kills them with a shotgun. Hidgens and Emma attempt to decipher the alien stuff, while Paul assists Bill in locating his daughter, Alice, who is imprisoned at Hatchetfield High School.
About the quiz
The Guy Who Didn’t Like Musicals isn’t one of Starkid’s best, but it’s also not one of their worst. If I were to rank it, it would probably be in the top half of their musicals. It’s very good and entertaining. Some of the songs were the only thing I didn’t like for. The soundtrack is a bit of a shambles. Much of it is enjoyable, but some of the songs just don’t connect with me. That’s primarily due to Jeff Blim’s songwriting style, as I had similar concerns with Trail to Oregon, another Starkid musical for which he composed the music.
It appears that the melody of the lyrics he writes doesn’t always match the melody of the music he writes, and as a result, the songs don’t always mesh as well as you’d like them to. They’re catchy enough, and the lyrics are well written; it’s just that the melodies don’t quite line up perfectly, which is really distracting for me. That disjointed nature works for a show like this because the entire premise is that these people have been infected by an alien intelligence that is making them sing and dance, so you could argue that the reason the lyrics and music don’t always line up is that these people have been infected by aliens.
However, because this is a musical, it is critical that the music fires on all cylinders. There are a few standout tunes, including “Show Stoppin Number,” “Not Your Seed,” and “Join Us (And Die).” Those three songs are fantastic, and they provide each of the soloists a fantastic opportunity to shine. None of the other songs are horrible; it’s just that some work better than others.
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