I'd sit through this again and again!

Tim Minchin and Matthew Warchus have pulled it off again. Five years after translating Roald Dahl’s beloved children's book Matilda from page to stage (to multi-award-winning smash hit), they've taken another precious cultural touchstone and created one of the most exciting, innovative, heartwarming and hilarious new musicals since well...Matilda.

Based on the 1993 film starring Bill Murray, Groundhog Day retains original script writer Danny Rudin who's clearly had a lot of fun expanding the Phil Connors repetitive universe, with a score by the antipodean comedian that is filled with his trademark wit, wisdom and approach to life, and is directed by Warchus in his inaugural show as The Old Vic's new Artistic director.

For those of you who may have been living under a rock, or are too young to remember the original (gasp), Groundhog Day is the fictional story based on the all-too-real tradition of the town of Punxsutawney, Pennsylvania. Each February 2nd, the town’s pet Groundhog is bundled out of his den to predict the weather; if he sees a shadow, you can bet you're in for six more weeks of winter. Quite why people look to a small beavery thing rather than the skies is beyond the point. The whole affair turns the small town into a party as people gather in excitement to see the Groundhog do his thing. Into this comes the misanthropic weatherman Phil Connors (Andy Karl) who is clearly furious about being sent to the back of beyond for an outside broadcast. Arrogant, self-important and quite a bit sleazy, Connors' anger only increases when it becomes apparent that he and his crew (Rita his producer and Larry his Cameraman) are stranded for another night by a blizzard he wrongly predicted, he heads to bed in his chintzy B&B, only to wake up in the most nightmarish time-loop, doomed to repeat the day over and over, with no end in sight.

Any fuss that Bill Murray's shoes might be too big to fill are quickly dispelled in the first number starring Andy Karl, who nails the unlikeable Connors with ease, making the role his own from the first flush of frustration. Finding the comedy with aplomb as Connors realises there is no consequences to his actions, despite his misdemeanors, he always wakes up on February 2nd, to the existential horror when he fully realises his fate, Karl is always magnetic to watch, somehow conveying the redemptive arc of Connor's with far more pathos than Murray. With a fascinating descent into madness, before he claws his way back to sanity.

Central to the story is Connors' obsession with Rita, his new producer. Whilst in his time-loop 'honeymoon period' he samples "80 percent of the female population of Punxsutawney, and one dude when I was bored", however Rita's affections are the one thing he cannot manipulate his way into, as obsessively as he tries. Carlyss Peer as Rita is delightful, adding layers to the Andie MacDowell role, until she is almost a real person, who's not really sure what she wants. Her reactions each 'day' to Phil's decaying mental state are often hilarious to see. Even at the romantic finale when Phil finally goes full Scrooge and wins the girl, there is still a realism as she wonders if she's made the right choice in the striking climatic number 'Seeing You'.

Elsewhere, there are some great stand out performances from the ensemble, the ratty Ned Ryerson is upped to a featured role that deepens heartbreakingly, as played with endearing charm by Andrew Langtree and Georgina Hagen as Nancy shines in the show’s most meta song. Rudin has wonderfully worked out the peripheral characters with humour and sympathy, fleshing out the town with drunks and tramps alongside excited Groundhog spotters et al, over which Minchin has sprinkled his magic brilliantly.

The real star of the show has to be the impeccable staging from Peter Darling and Ellen Kane as the cast navigate what must be the most confusing choreography in the world on an ever -revolving stage, re-living each day perfectly until they all begin to fuse into Phil’s fevered imagination. Effects are low tech but not lacking, the performances and songs are so good in this that they don’t have to be ballsy, budget breaking illusions, which fits in nicely with the feel of small town community, the most charming of which is a man in a Groundhog suit dumping snow onto a toy truck.

Altogether Groundhog day feels like a triumph for British (and Australian-ish) theatre, updating the source material lovingly, going with the flow, feeling more adult (but not age restrictive) than the creator's previous work, and perhaps more relatable. As Phil Connors struggles seemingly endlessly to better himself, we are asked the question of what we would do if we could live over again without consequences. I'll have to go with Rita’s answer, I'd change nothing, bar going to see the show again tonight!

Best bit: From Andy Karl's dazzling turn as Phil Connors to the knowing wit and whimsy of Tim Minchin's marvellous score, almost all of this production is a best bit.

Any boring bits: There's no time to be bored, Woodchuckers.

Who would like it: Fans of the original film will not be disappointed.

Who wouldn't like it: Those more at home with drama. That said, this is the perfect show for first time musical go-ers.

Verdict: Five out of Five

Groundhog Day runs at the Old Vic Theatre until September 17th, 2016
Reviewed by Kitty on August 8th, 2016
@ThisIsKittyMac

View our show pages for more information about Groundhog Day, Old Vic Theatre.