Having never seen Groundhog Day the movie before, I settled into my seat with exactly zero expectations.
I mean, it’s a musical about a magical beaver and a rude weatherman reliving the same day on assignment in Punxsutawney, Pennsylvania, over and over again. It couldn’t possibly be perspective-shifting, right? Wrong.
Groundhog Day The Musical was co-created by the film’s original writer Danny Rubin alongside the national treasure that is Tim Minchin, who composed the music and penned the lyrics (we’re on the edge of our seats throughout, not wanting to miss a single witty observation).
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Thanks to director Matthew Warchus, and Hugh Vanstone’s meticulous lighting design, our attention is cleverly diverted from the often-repetitive resets – it’s Groundhog Day, after all.
Rob Howell’s quirky sets have a cartoonish appeal, warping scale in a delightfully delirious way. And don’t get us started on Paul Kieve’s string of jaw-dropping illusion stunts in Act II. Trapdoors? Holograms? What just happened? We suspect some kinda voodoo magic is involved.
American actor/singer Andy Karl plays Phil Connors – a role he originated at London’s Old Vic theatre, before reprising it on Broadway – and he absolutely embodies this cynical TV weatherman character, as well he should.
The Punxsutawney groundhog is also called Phil (such a cute puppet!) and the pair share so much more than just a name: the magical beaver whose shadow sighting, or lack thereof, determines the length of this particular borough’s winter echoes the narcissistic weatherman’s denial of his shadow self.
There’s a sense that the main character has been cursed with reliving the same day over and over again because he’s a shit bloke and will be trapped in this weird closed-circuit time loop until he learns how to treat people with compassion and respect.
Elise McCann as Rita Hanson – Phil’s producer/romantic interest – shines and we’re rooting for her from the get-go. Hold up, is that Alison Whyte playing the minor role of B&B owner Mrs Lancaster? It is! The embarrassment of riches in this Australian cast, right across the board, is astounding.
The pacing of this show is genius throughout and deliberately toys with our emotions. One minute we’re mopping up cry-laughter tears (the alternative medicine and bar scenes!), nek minnit we’re inconsolable (see: Tim Wright, in the role of Ned Ryerson, performing his solo song Night Will Come – a window into this nerdy character’s grief).
The entire show, but particularly the ensemble number If I Had My Time Again, makes us reflect on past regrets and what we’d go back and change if a do-over were possible.
During the post-show standing o, we clock one of the actors on stage fighting back tears and abruptly follow suit, before also laughing at the absurdity of it all.
Dark, funny, heartwarming, thought-provoking and unmissable, Groundhog Day The Musical ultimately serves as a reminder that life without genuine interactions and human connection is empty and pointless.
Groundhog Day The Musical runs at Princess Theatre until 7 April. Grab your tickets here.
