Groundhog Day

This stellar collaboration between Tim Minchin, Danny Rubin and Matthew Warchus results in true theatre magic and a production of near perfection: as hilariously funny as it is heartwarmingly touching, Groundhog Day is the shining example of when every element of making a musical works harmoniously to craft a singular vision of excellence.

The adaptation from film to musical is a precarious and often misjudged one - bland, corporate cashgrabs of this nature come too plentiful to count. Against all odds, Groundhog Day not only works but excels with genius, wit and charm that surpasses the original film by a fair way, finding inspiration in its source material while crafting its own tone and identity. This is no small part to the efforts of the creative team, whose succinctly cohesive vision for the show is incredibly admirable, and throw into the mix the impeccable Andy Karl, a brilliant supporting cast and a gloriously energetic orchestra, Groundhog Day becomes completely and utterly delightful.

Firstly, how closely does this tread to its beloved film predecessor? It shares the same title, concept, lead characters and several plot beats, yet it would be dismissive to pass this off as an imitator; here, Phil Connors is far more suavely cynical than his film counterpart who presents himself as far more grouchy in his demeanor. Sure, Karl's Phil is an unpleasant man, yet his charm shines through, forming a façade of likeability that by the end of the show manifests itself as his genuine heartfelt attributes. Perhaps the biggest deviation is in the show's genius structure: while the first half plays out similarly to the film, following Phil's initial confusion, anger and then joy over being stuck in time, the second act chooses to slow the pace entirely and focus on the individual characters - now realised as three-dimensional humans - of Punxsutawney. Starting with Nancy, the previously objectified designated 'attractive woman' of the town, through the touching song Playing Nancy, we soon also get to know Ned, Fred and Debbie with each being given their own moment to shine. Not only does this give each actor the chance to showcase their talent - Kamilla Fernandes almost brings the audience to their feet with her powerhouse vocals towards the end of the show - but also brings a greater sense of life to the ensemble.

The result is a show that feels alive - fitting for if there was one thing the audience takes away from this surprisingly reflective show, it's how precious the journey of life is. Danny Rubin's fantastic book balances humour and excitement with more contemplative scenes effortlessly, making the runtime breeze by with its brisk pace, while also allowing for moments of reflection throughout. Paired with this script is Tim Minchin's flawless score, which somehow tops Matilda; while Groundhog Day may lack the multitude of tuneful hits found in his Roald Dahl adaptation, the artistry in this interweaving tapestry of melodies and reprises more than makes up for it. It would be far too easy for a show with so much repetition to get boring and - well, repetitive! - and yet Minchin's knack for subtlety within the structure and thematic rearrangement of the music as Phil's character arc develops makes the show consistently a fresh exploration for the ears. Accompanying Minchin's songs is Christopher Nightingale's additional music and orchestration: from the jazzy overture (which is constantly in my mind) to the brilliant instrumental music for the extended dance sequences later in the show, Nightingale crafts genius underscores that carry so much character. The orchestrations similarly carry a unique tone, with the deceptively small 10 person orchestra sounding incredibly rich and full, and the mixture of jazz, orchestral and electronic instruments forming a blend that compliments the eccentric staging.

On the topic of staging, Matthew Warchus' masterful direction is the icing on the cake. I adored the creativity of how Groundhog Day has been brought to stage; a genius use of models and puppetry, exhilarating dance sequences and baffling illusions make for a visual treat, and bring about so much physical humour and spectacle for a show that would otherwise have a smaller scale. The same can be said for the impeccable set design by Rob Howell which gifts the production with a gorgeous aesthetic that blends both abstract absurdism and naturalistic simplicity to create a delightful look for the show, unified by a genius use of weather forecast inspired structures that fly in to create a minimalistic sense of place.

It's apt that Phil Connors' story ends with a subtle twinkle rather than a rousing finale, for it isn't so much of an ending, but rather a start: the beginning of his new life as a changed man. It's this level of subtlety that makes Groundhog Day shine: a desire to defy expectations and craft a piece of theatre that repeatedly chases the artistic decision over the obvious one. Hopefully, much like for its protagonist, this limited run isn't so much the end of the road for this phenomenal show, but the beginning of the long and prosperous life this production deserves in the UK and the west end.

Groundhog Day is playing at the Old Vic Theatre until 19th August

https://www.oldvictheatre.com/stage/event/groundhog-day

[Watched 11/07/23]

Photography credit: Old Vic Theatre