GROUNDHOG DAY THE MUSICAL – what a clever show!
Direct from its record-breaking run in London Groundhog Day the Musical is now playing at Melbourne’s Princess Theatre.
The musical is based on the classic Bill Murray film – with a book written by Danny Rubin who also wrote the original 1993 classic, the synopsis is very close to that of the movie. Phil Connors, a cynical Pittsburgh TV weatherman is sent to cover the annual Groundhog Day event in the small town of Punxsutawney, Pennsylvania. Caught in a time loop, he’s forced to relive the same day again and again… and again.
While the story is familiar, its retelling via the stage is a theatrical masterpiece. It is, in a word, clever.
Whip-smart lyrics and catchy music from Australian favourite Tim Minchin chaperone the audience through a familiar story with an unfamiliar perspective. What could easily be a very boring, monotonous and frustrating performance remains fresh, engaging and funny.
Andy Karl returns as Phil Connors, the role he originated on Broadway which won him an Olivier Award, a Drama Desk Award and a Tony Nomination. It is very clear this is a part that he is very familiar with. He oozes charisma and manages to shift tones effortlessly throughout the performance. The fact that Phil Connors is so incredibly unlikeable and retains empathy and audience support is testament to his ability to shift with tonal changes throughout the production.
Elise McCann also puts on an incredibly display providing a warm counterweight to Phil Connors’ spiky persona. She oozes warmth and sincerity, and continues to maintain a fresh presence throughout – which is no mean feat in a performance that repeats the same day hundreds (if not thousands) of times.
The theatrical craft of this show is wonderful. One particular highlight includes a car chase scene which utilises lighting, blocking and set design masterfully. For a seemingly inconsequential moment in the plot this scene in the first act is a highlight.
Beyond the spectacle, Groundhog Day challenges audiences to look at the supporting players with more context. Playing into the subtle developments of smaller characters (learning to sing, proposing to a loved one) it is a reminder that life itself is a journey for everyone, not just the principal characters. The most notable example of this comes at the start of the second act, with Ashleigh Rubenach playing the role of Nancy. Initially an afterthought of a character, a cheerleader/conquest of Phil Connors’ who is overlooked (both in the first act and in the original movie) Nancy provides some perspective and insight into her own emotions, motivations and perspective. It was telling when watching this song performed live that the audience first started laughing, but then quickly realised their own errors of jumping to pre-established conclusions and stereotypes.
Groundhog Day is not your classic musical, which is a good thing. The story, production value and talent on display will appeal to a wide audience. If there is someone out there who ‘doesn’t like musicals’ then this is a great opportunity to challenge that thinking. All elements work incredibly well together to put on a production that could be enjoyed day, after day, after day…