Bill Murray’s creation of Phil Connors, an egotistical and contemptuous TV weatherman who finds himself trapped in a time-loop whilst conducting an outside broadcast in Punxsutawney, a Pennsylvania backwater, achieved instant cult status when the original film of “Groundhog Day” was released in 1993. The backwater and its unsophisticated inhabitants, whose singular notoriety stems from the antics of a ground-dwelling rodent, (which legend tells can predict the weather depending on whether it spies its own shadow on February 2nd), is the focus of short-lived annual interest, but viewed with undisguised derision by our anti-hero.In this musical re-telling of the story, Danny Rubin has breathed new life into his original script with the help of comic lyricist Tim Minchin, director Matthew Warchus and choreographer Peter Darling (all of whom continue to bask in the glorious success of their collaboration on “Matilda”). They are fortunate – as are audiences – to have secured the magnificent skills of Broadway leading man Andy Karl, who takes us on a life-affirming journey which runs the entire gamut of human emotions.
Connors’ character is introduced to us as deadpan, wry, sardonic and cynical; progresses to playfully-impish, camp, sexually rapacious, and self-absorbed; degenerates to frustrated, resigned, depressed, fatalistic and suicidal (which counterintuitively results some of the funniest moments in the piece); and finally plateaus at thoughtful, kind, and generously aware of the needs and feelings of others. This transition from hardened cynic to universally appreciated empath, is not an easy one to pull-off in a couple of hours, especially given that the repetition inherent in the plotline requires scenes to be replayed – each time with a snappy new twist and sequence of unpredictable outcomes. Connors’ learning curve is accomplished however, with extraordinary aplomb by a stage performer at the top of his game. Irrespective of the self-evident triple-threat skills possessed by our lead, he is not alone in tugging heart strings and delivering vignettes of pathos and guffaw-out-loud moments. The entire cast works hard to deliver a fast-paced, slick, stylish and witty piece of theatre which is a joy to witness.
Ordinarily I prefer to avoid the ubiquitous hyperbole which has inveigled its way into popular culture – (thereby rendering most expressions of praise virtually meaningless) - but in this instance I strongly urge you to procure a ticket at the earliest possible opportunity. The production is sure to win a clutch of awards and is due for a Broadway transfer in Spring 2017.
Kenneth Branagh ends his season of plays at The Garrick with John Osborne’s 1957 commentary on post-war Britain’s parlous and weakened state, highlighted by the military and diplomatic inadequacies revealed in the government’s handling of the 1956 Suez Crisis, presaging the collapse of the British Empire.