Groundhog Day the Musical

‘I have no words.’

A phrase uttered between friends as we walked out of Princess Theatre on the opening night of Groundhog Day the Musical. It has been exchanged multiple times this weekend, and while it conveys the awe and wonder of the crowd and its standing ovation on the night, it provides little assistance in coherent theatre criticism, so I will do my best to pick my jaw up off the floor, and explain as best I can how magically exhilarating Tim Minchin’s Melbourne revival is.

After originating in London’s West End in 2016, and then moving to Broadway in 2017 – composer and lyricist Minchin, director Matthew Warchus, and original co-screenwriter of the 1993 film of the same name, Danny Rubin, have brought their musical adaptation of Bill Murray’s classic to Australian shores for the first time. While Minchin’s talents are no secret, and his collaboration with Warchus on Matilda the Musical eluded to being both their magnum opi, colour me premature, but Groundhog The Musical may be up there as Minchin’s best.

The plot is cultural renowned – even the title weaselling its way into every-day phrasing to highlight our tedious repetitions of the 9-5 grind. Olivier Award-winning and Tony Award-nominated Andy Karl returns as Phil Connors – a narcissistic, arrogant and burnt out weatherman, who is sent to small town Punxsutawney to cover the quirky annual holiday of groundhog Punxsutawney Phil coming out of hibernation to predict the end of winter. It’s a day that Phil wants to get over with, a day and town that he wants to escape first chance he gets – but instead wakes up the following morning to the same radio alarm, the same interactions, and the same small town locals that he really just wants to punch in the face. On and on, this loop goes. It’s the World vs Phil Connors, until his news producer Rita (Elise McCann) starts to shift his perspective on life, love and the human condition.

The risk in adapting a time-loop story for the stage, is doing just that. Copy and pasting the same scene to make a point. Fortunately here, Groundhog Day the Musical is a masterclass in how to utilise set, lighting, sound and choreography to shake things up. Rob Howell’s set design is illusionary and whimsical, seamlessly transitioning from Phil’s bedroom to the local taverns to Punxsutawney Phil’s moment in one smooth motion. One particular scene in which Phil drunkenly takes some locals on a wild car chase, was a scenic design delight that I had never quite seen manoeuvred on stage before. Whisking Howell’s impeccable work with Hugh Vanstone’s lighting, Simon Baker’s sound design and Lizzi Gee’s choreography, and we have one of the finest shows to grace a Melbourne stage in years.

There is a reason why Andy Karl has reprised his role as Phil Connors for the third time running. Because, simply, no one could do it better. Karl is magnetic as the charismatic, putrid, POS Phil. If you believe Bill Murray’s Phil was awful, Karl says hold my mic. While his comic timing in a-holery is perfection, Karl also transitions well into the softer moments, as Elise McCann’s Rita teaches him new ways. As he is darkness, she is light. He the devil, she the angel. It’s a tale seen many times before (ironic, no?) – but Karl and McCann’s chemistry is delectable and not at all forced nor unbelievable. As Andie MacDowell was in the original film, Rita is a shining light and McCann delivers her beautifully, and she rallies well with Karl in their comedy matches. Their work with the show’s ensemble team round out an absolutely spellbinding theatrical experience that cannot be missed. Even the musical cynics will get a kick out of this one.

Groundhog Day the Musical runs until April 7th at Princess Theatre.