Book by Danny Rubin. Music and Lyrics by Tim Minchin. Princess Theatre, Melbourne. Till April 20, 2024.
Watching Groundhog Day has become something of a musical theatre experiment for me. I can’t think of another show that has run on three continents, with multiple different casts, but kept the same leading actor, in this case Andy Karl. Having that constant as its centre means there is a control element from which you can judge everything around them. And I feel safe in saying this Australian production of Groundhog Day is the best the show has ever been, and that’s because of one brilliant performer… Elise McCann.
Based on the 1993 romantic-comedy starring Bill Murray and Andie MacDowell, in which an arrogant TV weatherman, Phil Connors (Karl) is sent on assignment with a lowly Associate Producer, Rita (McCann) to cover Groundhog Day, a local tradition in Punxsutawney, Pennsylvania. According to legend, if a groundhog comes out of his burrow and sees its own shadow, they’ll be stuck with six weeks more of winter. But Phil gets stuck in a 24hr time loop, forced to relive this particular Groundhog Day again and again.
Original screenwriter Danny Rubin has translated his film to the stage with music & lyrics by Tim Minchin and direction by Matthew Warchus (the creative duo behind the mega-hit Matilda), and the result is 100% stage-craft. Phil’s repetitive time loops are carefully crafted to keep you engaged and onstage trickery used to keep him popping up in bed brings gasps of wonder from the crowd (having seen the show four times now I had a great time watching the mechanics).
The score is pure Minchin. Witty and emotional, probably filthier than some families in the audience would like, and happy to take the odd diversion. The Act Two opening number for instance, ‘Playing Nancy’, gives the stage over to a minor character with no real narrative function. It’s a metatextual thought bubble for both character and actress in a show already heavy on existential exploration (and my favourite song in the show). Local insurance salesman Ned Ryerson’s advertising jingle returns as a heartbreaking ballad turning your laughter to tears as Minchin does best.
Having now seen Karl perform opposite four different leading ladies (who I hate to say, have always been the weak point in the show), it was thrilling to watch McCann take on the role of Rita with such honesty. For the first time, Rita felt human and well-rounded, not just a foil for Phil. There was a genuine connection between the characters that I always felt was lacking in both London runs and on Broadway.
It’s no surprise that Andy Karl plays Phil Connors to perfection. As the only actor to play the role (other than understudies) his Phil is a well-oiled machine and seems to be more rambunctious now than ever before. The show takes Phil on a wide character arc of hedonism, altruism, sacrifice and growth and Karl seems to be playing it as fresh as he did on the first day in 2017 when he originated the role. That said, I would LOVE to see an understudy run to watch another performer take it on for a night.
My brain did go on a tangent trying to understand why a joke from the original production about eating too much fried chicken was changed to be about eating camembert cheese (did the Americans feel very attacked by the original joke? Is the new one elitist, or even racist?) I also picked up on easter eggs I’d missed before (there’s a nice reference to Minchin’s Christmas classic ‘White Wine in the Sun’ on one of the screens).
In short, this is the most fun, and most refined Groundhog Day has ever been. This show is easily in my Top Ten Favourite Musicals of the 21st Century (so far) and I personally think it’s superior to Matilda. If I was stuck in a loop watching this show, I think I’d be pretty fine with it.
Cultural Binge 
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