What can we do to change the course of just another routine day? Groundhog Day entertainingly and electrifyingly gives substance to the thought as self-important, condescending city-slicker and TV weatherman, Phil Connors, becomes trapped in a time loop on February 2nd in the small American town of Punxsutawney, Pennsylvania.
Phil is there to cover the town’s annual Groundhog Day Ceremony on which the end of winter is dependent on the outlandish superstition whether or not the groundhog, Punxsutawney Phil, sees its own shadow. But when a blizzard prevents Phil’s departure, he’s stuck with an insular but endearing community for what could be a lifetime of living through just their one day. And, while in their midst, a fantastical story of self-discovery precipitates when it dawns on Phil that there’s no tomorrow, tomorrow.
Based on the highly lauded 1993 film of the same name starring Bill Murray as Phil Connors and Andie MacDowell as the young new producer he attempts to woo over and over, Rita Hanson, Groundhog Day The Musical is held together tightly by a splendid and indefatigable 16-strong ensemble cast led by American actor and singer Andy Karl as Phil and Elise McCann as Rita. Oh, and a formidable staging that turns on many clever surprises.
Thursday’s opening night in Melbourne began with a carnival-like atmosphere and ended with a standing ovation. In between, music theatre wizard Tim Minchin’s wide-ranging music style and relentlessly witty and loveable lyrics create an unforgettable atmosphere and journey guaranteed to repeat show after show.
While the musical adheres closely to the film version – book writer Danny Rubin co-wrote the screenplay with Harold Ramis, the film’s director – Minchin’s work sparkles with spiritedness and brio and probes with heart and insight into darker territory as part of Matthew Warchus’ brilliantly honed direction and Lizzi Gee’s zippy choreography.
Karl, who reprises the role of Phil from both the same original London Old Vic premiere in 2016 and subsequent Broadway premiere in 2017, is music theatre genius in both exploring and owning the part with exceptional talent and understanding.
From self-importance to self-discovery, Karl gives a faultless performance to a man with a lot of growing up to do when let loose in a metaphorical candy store of sorts — at first, sugared with a strong desire for sex. We’re not meant to like much about Phil for the greater part and Karl makes sure of that until his suave, agile vocals and golden comedic timing rev up Phil’s welcome change of behaviour with especially wonderful deeds in Act 2’s Philanthropy.
McCann, who originated the role of Miss Honey in the Australian production of Matilda, is similarly glove-fit perfect as Rita, a treasure of a girl bouncing with enthusiasm and a long list of what she would want in a man. Together with Karl, the duo’s acting chemistry shines throughout, culminating in the touching and radiant, Seeing You.
Highlights abound courtesy of the excellent ensemble, amongst whom special mention goes to Ashleigh Rubenach as beautiful and objectified but bimbo-busting Nancy when she delivers a smashingly poignant Playing Nancy. And neither Tim Wright’s performance as nerdish insurance salesman and Phil’s former classmate, Ned Ryerson, nor Alison Whyte’s doddery and dotty Mrs Lancaster, Phil’s elderly bed and breakfast hostess, never gets boring on repeat.
Alongside spoonfuls of pageantry and ceremony, neighbourliness and a down-to-earth mentality signify the glossy values of Punxsutawney’s townsfolk who unite in a seamlessly integrated show of infectious solidarity. The ensemble oblige with meticulously detailed numbers incorporating vibrant dance sequences that help to generate the show’s momentum and complement the story’s narrative.
Especially so, once seen, it’s hard to imagine the show taking flight without Rob Howell’s marvellous set designs and costumes, Hugh Vanstone’s picture book lighting and the fabulous illusions created by Paul Kieve. Howell creates variable settings cleverly backgrounded by screens made up weather map isobars while Phil’s cozy room is a strong focus for the uncountable times Karl gets out of bed and dresses for the day.
Together with delightful miniaturisations of the town and gobsmacking stagecraft, the spell gets cast, including a thrill-seeking joy ride and police chase turned into a spectacular coup de theatre and the magic of Phil unexpectedly appearing on one part of the stage when he clearly seemed to have exited earlier. That sense of magic seems infused in the show.
In the end, what could easily become grinding repetitiveness for a story on a time loop that progresses little by little – and it’s hard not to think about those who do show after show on any stage – the creative and artistic team make Groundhog Day a remarkably layered and structurally enriching experience. You might not walk away with a melody but it could very well make you change what you do when you wake up tomorrow.
Groundhog Day The Musical
Princess Theatre, Spring Street, Melbourne
Performance: Thursday 1 February 2024
Season continues to 7 April 2024
Information and Bookings: www.groundhogday.com.au
Images: The Australian company of Groundhog Day The Musical – photo by Jeff Busby | The Australian company of Groundhog Day The Musical – photo by Jeff Busby 3Andy Karl and Elise McCann in the Australian production of Groundhog Day The Musical – photo by Jeff Busby | The Australian company of Groundhog Day The Musical – photo by Jeff Busby
Review: Paul Selar