Minchin and Warchus make a victorious return to thE stage with a wake-up call I’d love to hear again and again and again…
Having conquered the musical adaptation of Matilda, comedian/composer Tim Minchin and director Matthew Warchus team up once again on another hit. Groundhog Day the musical, based on the much-loved 90s movie by screenwriter Danny Rubin (who also reworked it for the stage), stars Jewish American actor Andy Karl, whose onstage life has been imitating art thanks to his repeated – and award-winning – portayal of the show's lead on Broadway and at the Old Vic's original run in 2016.
The story follows Phil Connors, an arrogant TV weatherman and small-time celebrity, who's rankled by the fact he's been sent to Pennsylvanian backwater town Punxsutawney to cover a story that he sees as beneath him. The locals believe that if groundhog Punxsutawney Phil comes out of his hut and doesn't see his shadow on 2 February, then winter is over and spring can begin. If he does see it, however, residents are in for six more weeks of winter. Thus 'Groundhog Day’ is celebrated each year with an impressive and somewhat eccentric ceremony.
Connors awakes in the local guest house, roused by the radio and a phone call. He hurriedly pulls on his suit and tie and makes his way to the Groundhog Day ceremony with his crew, ready – albeit reluctantly – to report. Then follows an exasperating day of challenges throughout the town, until finally he sinks, exhausted, into bed. Cue the magic realism of the exact same wake-up call and radio that sees our weatherman repeating the previous day's experiences. Then again the next day, and the next, and the next… There is a difference, though, for gradually it becomes clear that he's on a surreal learning curve, which is at the heart of the story (and it’s a big heart).
At first, Connors finds it impossible to conceal his contempt for the perky, good-natured locals, whose OTT joie de vivre contrasts with his chilly attitude. He does, however, use the time loop to his misogynistic advantage, learning all about the likes, dislikes and family lives of the town's most attractive women, so he can worm his way into their affections (and then some). But he also starts to fall for his beautiful, intelligent and assertive producer Rita (impressive, big-voiced Tanisha Spring), who quickly becomes the number one target of his attentions. Gradually, the pompous misanthrope, who once succumbed to temptation and took advantage of others, evolves into a man who listens, empathises, and even tries to save the life of a beggar.
The story arc is wonderfully suited to a musical and you can tell that the cast is just as invested in the characters and the tale they have to tell as the superb choreography (Lizzi Gee) and music (played by MD Alan Berry’s sparkling band). The forest greenery of Rob Howell’s set is versatile and the fab costumes are down to him too. Plus there's some genuine magic to Paul Kieve’s impressive illusions, which enable the lead to disappear and reappear.
Connors’ final metamorphosis into a jaunty guy with a huge grin to match that of the townsfolk, as witnessed when he volunteers to DJ their celebration disco, is a glorious climax to what is undoubtedly a glorious crowd pleaser.
By Judi Herman
Photos by Manuel Harlan
Groundhog Day runs until Saturday 19 August. 7.30pm, 2.30pm (Wed & Sat only). From £13. Old Vic Theatre, London, SE1 8NB. oldvictheatre.com