Running since March 2017 A cynical Pittsburgh TV weatherman finds himself caught in a time loop, forced to repeat the same day until he gets it right in this musical adaptation of the 1993 film.
The Broadway production of Groundhog Day closed September 17, 2017. For current Broadway show listings and tickets, please click here.
From the producers: "Groundhog Day" is the story of Phil Connors, a cynical Pittsburgh TV weatherman who is sent to cover the annual Groundhog Day event in the isolated small town of Punxsutawney, Pennsylvania, when he finds himself caught in a time loop, forced to repeat the same day again and again...and again. As each day plays out exactly the same as before Phil becomes increasingly despondent, but is there a lesson to be learned through his experiences, will he ever unlock the secret and break the cycle?
1993's "Groundhog Day" was cited by the Writers Guild of America as one of the 101 Greatest Screenplays ever written and in 2000 was voted by readers of Total Film as one of the ten best comedies of all time. The classic Bill Murray comedy has been adapted for the stage by the movie's co-writer Danny Rubin, with music and lyrics by Tony nominee Tim Minchin ("Matilda"). The musical premiered at London's Old Vic in 2016 and received glowing reviews from critics.
Two-time Tony nominee Andy Karl stars as weatherman Phil Connors, following his celebrated performance in the show's London production. Karl's Broadway credits include "Legally Blonde: The Musical," "Wicked" and "Jersey Boys." He received Tony Award nominations for his performances in "Rocky" and "On the Twentieth Century."
Wonderfully inventive...Karl brings his own brand of smarmy charm to the role of meteorologist Phil Connors and makes it his own. "Groundhog Day" doesn't mess too much with [the] set-up. Instead, it gooses up the familiar with dazzling energy, creativity, wit, and heart. At times, [it] feels more like a plate-spinning magic trick than a Broadway musical. Spectacle is fine, but none of it much matters if the basics of the show don't work. Thankfully, they do. Beautifully.
[A] delirious reinvention with its own defiantly unique personality, a relentless forward-backward spin that leaves you smiling, exhilarated and giddy...The fiendishly crafty creative team has devised a musical that cracks open the source material to amplify its themes. [Karl] gives a musical-comedy performance of the highest caliber. Even if the repetition does become wearing and the show feels overlong, there's method in its madness.
New York Daily News
Kinetic and sometimes witty but ultimately wearying antics...Karl is hunky, hilarious and huggable as nasty newsman Phil Connors. [The] songs by Minchin strike the right tonal chords and are agreeable enough but don't lodge in your brain. The show whirs, buzzes, blinks and throws in playful mirages and fast-paced, if finicky, special effects. The frolics lead to diminishing returns - and don't make up for the shortage of songs you'd love to hear again. And again.
New York Magazine
Minchin's songs, too many of which are baggy and lazy...it's a failure that helps make "Groundhog Day" a very grating and repetitive experience for [the first act]. In Act Two, though, the story deepens...It is only then that the brilliance and expansiveness of the central metaphor emerges as the point instead of merely the gimmick. Despite the musical's theatrical cleverness it is often literal and choppy. But at least it gets better as it loops along.
New York Times
Dizzyingly witty..."Groundhog Day" reimagines [the] film with such fertile and feverish theatrical imagination that you expect to it implode before your eyes. Karl unconditionally owns the role of Phil Connors. [The] undulating melodies and whip-smart lyrics tap into the brooding sides of the supporting characters. [It] could still shed a number or two...but Mr. Karl is a very persuasive guide to the show's mercurial moods.
An ingenious, witty, dark yet joyously offbeat musical...Phil's surreal journey goes believably from freak-out to incredulity, hedonistic jollity, murderous sadism, suicidal depression and god-complex grandiosity. Minchin's music beguiles with odd phrase lengths and wildly unpredictable, amusing lyrics, while director Warchus and his first-rate cast take us through the day and its many conflations with a light touch that belies the head-spinning concept and scenic intricacy.
Time Out New York
Karl carries the show with inexhaustible physical and vocal energy. Unfortunately, the tone throughout is gratingly cartoonish. The story lacks focus and drive. We don't care enough about the crucial, deepening romance...there's no B-plot romantic story to amplify the main one, and the smaller roles are all cardboard fools. Even for all the structural problems of the book and score, Karl's leading turn is undeniably strong - just not enough to fix the skipping-record world around him.
Karl proves he can carry an entire show on his back. Under Warchus's helming, Phil's adventures in Punxsutawney are fantastical and fun. As the show goes on, Minchin's lyrics turn out to be much cleverer...Unfortunately, his music lacks a distinctive sound and doesn't rise above monotony. Although the story holds up, it doesn't entirely make sense here, given Phil's nice-guy persona and the absence of a redemption number to signify his transformation into an even-nicer guy.