Groundhog Day the Musical - Old Vic

Yes. The score is fantastic. Less exlectic in styles, a bit more musical theatre, but packed with Minchin's style and lyrical wit. I went in its opening year, and the audience was mainly adults. No doubt that has changed, but it was fantastic. That, and the magic of the show really spellbound the kids so the few there were didn't make a peep. 

I haven't seen Groundhog Day yet, but speaking on behalf of Matilda, it is fantastic. The score is great, and the design and staging alone is worth the visit. The fantastic performances, score and book are the added bonus haha. Totally recommend it.

Yes, agree with all that, AK fantastic, visuals wonderful, first half ludicrously entertaining, second half poignant, and yet... I somehow wasn't convinced that it will be a hit. Mind you, I don't see a lot of musicals and the last ones I really enjoyed were Betty Blue Eyes and Lend Me A Tenor so... enough said!

PS. I hope Minchin doesn't succumb to the temptation for a curtain song. The ending is perfect - but very daring.

I found the show itself quite engaging and imaginative, but (and I know I'm in a minority here), the score does little for me. I've got the cast recording, but other than 'When I Grow Up', there's nothing that draws me back to it. Would be interested to know what others feel the highlights of the score are

I was at this last night, and it was interesting. Not really any spoilers below.

Firstly the music somehow wasn't quite what I was expecting. In a lot of ways not much of it stands out, and I'm struggling to remember much of it 24 hours later. There's a lot of jazz and country influences in it with a sprinkling of traditional musical fare mixed in. The lyrics are very sharp and witty, but can be touching when they need to be.  There are some terrific pieces which work really well in the moments they're placed in, but there's even fewer memorable songs in this than in Matilda which is a disappointment after you've left the auditorium. As a big Tim Minchin fan I was most excited to hear what new concoctions he'd come up with, and a lot of it is good but I can't shake off the feeling that it didn't live up to what I'd expected. I'm hoping that a repeat viewing at some point in the future will soften me up to their charms, because there were moments of musical beauty within there that I'm forgetting too quickly. And I'd hasten to add that that in the context of the whole show, I don't think the score lets it down.

You can tell that the book has been written by the same writer as the screenplay, there are sections that are almost word-for-word identical to sections of the film. Which is by no means a negative remark, just interesting. It's very well structured, and for anyone familiar with the layout of the story it doesn't ever get tiring or annoying. I do feel a little sorry for some of the actors though who read the same line in the same way half a dozen times per show. Perhaps it was the addition of the music but the story had a lot more resonance and felt like much more of a journey than the film did.

In particular Andy Karl as Phil Connors does a spectacular job. He's an effortless leading man, and in particular he brings across character development really well as his ordeal goes on, with excellent comic timing as an added bonus. Carlyss Peer makes less of an impact, but she was hampered by the fact her character doesn't really get a chance to develop at all. Certain layers of her are peeled back, and she's a strong stage presence nonetheless.

I didn't love the design of the stage borders but the rest of the set was lovely, and as others have pointed out the TV screens on the main curtain are really well utilised. The orchestra and arrangement were great and the sound mixing in row J of the stalls was completely acceptable. It was a little muddy but I didn't hear the problems others have described with losing the lead mic in the mix.

What's nice about Groundhog Day is that it's an original British musical with an entirely new score, a quality, endearing and engaging libretto presented in an accomplished way. This is exactly what we should be doing more of because it's really good. The audience were on their feet within the first line of the ensemble taking their bows. It's not perfect but it completely deserves success, and is much more wanting of a good long run in a medium sized theatre than half of the shows running in it's stead. There's no reason this couldn't or shouldn't go to Broadway when the circumstances are right, but I'm crossing my fingers that it stays in the West End as well.

Can something be described as British if the composer and lyricist is Australian? (I'm assuming he's Australian, he may do it to fit in

Indeed, Mr Minchin is from Northampton.

£60-odd stalls seats reduced to £30 by turning up at the box office so giving this a chance tonight!! Quite excited!

In the interval currently and I think this an absolute genius work of theatre - the full audience are totally lapping every second of it up. The best new British musical since, well, Matilda I suppose. Hope this gets good reviews and finds a permanent home in the West End.

Written a proper 'review' on my blog but don't want to give my real identity away! Haha. But here's my thoughts:

What a joy it is to walk into a theatre, know nothing about a musical and be completely blown away.

Tim Minchin’s Groundhog Day (never seen the film but is not 100% on my to-do list!) is an absolute work of genius, and surely the best new British-created musical since Minchin’s first foray into the genre: Matilda. Unsurprising, seeing as Matilda and Groundhog Day share 12 creative team members.

As Phil, Andy Karl is simply outstanding. A perfect leading man who carries the weight of the show as if it were as light as a feather. Phil is a man who could be, and is, very hard to like, yet Karl somehow makes him quite charming and hilariously funny – thanks to a truly wonderful book by screenwriter of the original film Danny Rubin. A bad book can be a true let-down of an otherwise brilliant musical, but this creation is incredibly witty, laugh-out-loud funny, full of pathos, emotionally driven and most importantly – never clichéd. With Karl’s Phil, you are with him all the way. From his complete frenzy when he first wakes up to the same day, to his repeated efforts to woo Rita, going from day to day finding out more information about her and trying not to screw it up. Carlyss Peer is a sweet yet feisty Rita, her cleverly written diary entries revealing more to her than she would have you believe.

The rest of the cast are all listed as ensemble, with character names coming secondary, in brackets. This is an amazing ensemble of actors, athletic in their spot-on re-creations of the same day, with faultless and unwavering energy. Some wonderful character moments from Andrew Langtree as Ned Ryerson and Jack Shalloo & Andrew Spillett as Ralph and Gus respectively and a beautiful, unexpected song from Georgina Hagen as Nancy. Add to this the unmistakeable genius choreography of Peter Darling, who creates routines that are all at once pedestrian yet epic, every little move and twitch completely character driven, providing stunning imagery from large events such as parades to unremarkable aspects such as audiences watching from behind a rope. These routines (stand-outs for me include a number with many doctors and the entire town tap routine) must have been drilled within an inch of their lives as the cast moved as one, not a foot or hand out of place. The tightest choreography I have seen in a musical for a long time.

The design of this show is also to be hugely applauded. A magnificent set by Rob Howell, manipulated by the cast as they create the show before your eyes, puts you completely in the town of Punxsutawney and the use of many intertwining revolves so cleverly creates the feeling of never-ending spiralling. Hugh Vanstone’s lighting design is truly something to behold. The way the jump cuts are achieved moving from day to day are so simple yet effective and director Matthew Warchus’ work with illusionist Paul Kieve to create such innovative and stunning sequences has surely paid off with many of them receiving multiple rounds of applause mid-show from the full, captivated audience who rose to their feet instantly as one at the curtain call – well deserved.

I am a huge fan of Tim Minchin’s work, and his irreverent, witty, satirical but deeply emotional style works beautifully here, elevated by the 11-piece orchestra and thrilling orchestrations from Christopher Nightingale. I find Minchin’s style very easy to identify, yet you never feel like it’s simply actors singing Tim Minchin songs; he has written specifically for characters. Written about their psyche, what makes them tick, what turns them on and off. I read that Stephen Sondheim had once considered writing a musical of Groundhog Day, and on multiple occasions during the performance it struck me how much Minchin’s writing sometimes reflects Sondheim’s, in the best possible way. If Tim continues writing for musical theatre, and I sincerely hope he does, then we are all in very safe hands if Matilda and Groundhog Day are anything to go by.

★★★★★

Er... I just booked stalls row J right in the middle for tonight on the old vic website for £21! It's usually a £90 seat I think!