London’s Old Vic hosts the return of Tim Minchin’s musical adaptation on the classic 90s comedy hit. Guillermo Nazara shares his thoughts on the production, to let us know if this show left him feeling under the weather.
If I could turn back time… Nah, you know what? What’s done is done. I’m strong enough to assume the consequences of my acts – and lazy enough too… Anyway, we’ve all been in that kind of situation where we wished we could have done things a different way. Or to at least, be given the opportunity. But what if that opportunity became a curse? Nothing too ground(hog)-breaking (sorry…) about the idea – especially when we’re talking about a movie that took the 90s by storm (no pun intended) and allowed Bill Murray’s career to explore new fields outside comedy.
Groundhog Day returns in a different, renovated (sort to speak) form to the London scene this summer. It’s not the first time that we (or its venue) have seen it this way, though – the show premiered back in 2016 before transferring to Broadway on the following year. But at least, we’ve been offered a remodeled (somehow updated) look on a Hollywood classic – playing on its nostalgic power as its greatest strength. That, and it’s most compelling, sometimes astonishing staging.
Directed by Matthew Warchus, the show brings back practically the same creative team that turned Roald Dalh’s celebrated books into a West End decade-surpassing hit. Featuring music and lyrics by Tim Minchin and a book by Danny Rubin, it’s the visuals, however, that give the production its real definition and distinction. With sets and costumes by Rob Howell and illusions by Paul Kieve, the use of so many varied, imaginative scenographic methods and several surprising tricks not only make the experience highly enjoyable, but also turn it into something memorable.
Minchin’s numbers serve the narrative properly – his lyrics often fueled with his signature twisted irony. But that’s an effort that’s sadly not matched by the outcome of his music. Though always featuring the right vibe for the storytelling, the melodies lack the necessary resonance and standing that’s supposed to be in a musical theatre score. They oblige the plot, but not our ears – as the moment they’re over, they also cease to exist for good in our minds.
Starring Andy Karl in the lead role of weatherman Phil Connors, a role he literally broke a leg in, his performance is nothing but superb – his acting being the big standout thanks to the appeal and magnetism he provides to the part, making of an obnoxious, self-centered assh*le quite a likable, engaging specimen. On the other hand, Tanisha Springs gives a notable rendition as TV (associate) producer (and Phil’s… love… interest) Rita Hanson, presenting us with a more than satisfying, humourous portrayal that, at the same time, brings both balance and chemistry with his male counterpart.
The old tradition says that groundhogs can predict when spring will awaken. Well, I’m not too keen on superstitions (fingers crossed), but certainly something bloomed in this show – which, though maybe not the most wholesome, it does hold a good bunch of merits to its credit. With a much entertaining, good-hearted plot, a devoted cast and impressive staging, Groundhog Day may not be the musical taking you to cloud nine, but it does have the ability to steal the thunder for at least one night. And unlike others, this one will make sure it doesn’t rain in your parade.
Groundhog Day plays at London’s Old Vic Theatre until 19 August. Tickets are available on the following link.