The much-loved film Groundhog Day has been adapted for the stage and the tale of a meteorologist trapped in a time loop is taking London’s West End by storm.
Hailed by critics as a ‘triumphant theatrical rebirth’ and an ‘instant classic’. the musical recreation of the 1993 film has enjoyed an overwhelmingly positive reception and looks set to arrive on Broadway as early as next spring.
Adapting hit films for the stage is an old theatrical trick – yet in this case, it is a complete coup. The acclaimed actor-musician Tim Minchin is composer and lyricist, Matthew Warchus the director and Peter Darling the choreographer and they prove themselves to be a victorious triumvirate for the musical which is being staged for a brief period at London’s Old Vic theatre.
Warchus and Minchin were the brains behind the multi-award winning theatre adaptation of Roald Dahl’s beloved children’s classic Matilda and it’s fair to say their creative powers have conquered again with Groundhog Day.
Groundhog Day’s plot is undoubtedly unconventional for the stage, exploring the complicated narrative theme of repetition. The genius of the show lies in its clever way of balancing the exhaustion of the repetition of Groundhog Day (in such a way that the audience sympathizes protagonist Phil Connors) with enough visual, lyrical and aural vivacity to keep the performance interesting.
Slight changes and subtle new jokes are injected to carry the audience with imperious weatherman Connors- unforgettably played by Bill Murray in the movie- excellently portrayed here by Broadway favorite Andy Karl.
Karl, however, does not walk alone. He is brilliantly supported by the relatively unknown Carlyss Peer, who plays uptight associate weather producer Rita Hanson alongside an all-singing, all-dancing and alarmingly energetic chorus. Connors and Hanson become slightly over-sentimental in the second act, but this, fortunately, is interposed with funny songs and spectacular sets. The sets are a visual marvel throughout, with seamless transition, bright lights and impeccable attention to detail.
Technically, Groundhog Day ticks every box. But the question on everybody’s lips is will this production work on Broadway?
Almost certainly. The British audience thoroughly enjoyed mocking the stereotypical small-town American hicks, which the play does well, and such ridicule is likely to be well-received by a cosmopolitan Broadway audience.
US viewers may be less amused by jokes about alternative therapies, prescription drugs and the ease with which doctors can financially profit from patients with anxiety disorders. (These minor details could, if necessary, be omitted, due to briefly being focused in only one song.) Londoners, however, were highly amused by them, largely due to the derision of health-conscious Americanisms (ironically, habits we Brits have chosen to adopt).
A fair amount of the show’s humor is based on the simplicity of men with regards to their lascivious instincts, male-female politics and gender stereotypes which provides jocular watching for any man or woman who has ever attempted to lure a member of the opposite sex into their bedroom (or in Connors’ case, their run-down small-town B’n’B), and indeed anyone who has received unwanted attention from their animal counterpart.
Interval at the Groundhog Day musical. Verdict so far: it’s Hamilton great. I am blown away.
— Bill Sich (@bill_sich) August 30, 2016
The cleverest aspects of Groundhog Day are both the mockery of stereotypes – without seeming outdated or sexist- and the emphasis on repetition whilst being entirely unusual, original, varied and funny.
Overall, the musical is a tale of humility, perception, affection and self-awareness, all the time portrayed with humor and intelligence.
Broadway is in for a treat.
