GROUNDHOG DAY Previews — Page 11

"Think I'd rather spend my money on GHD. Then again, I didn't get a meat pie."

The best path would be to avoid both. But yes, as bad as Groundhog Day was ---- and was it ever bad --- it was better (but then, what isn't?) than that odious, grotesque, appallingly ugly horror show called Sweeney Todd.

I caught this yesterday and really enjoyed it. It's nothing groundbreaking, but I found plenty to like. I thought the score was quite catchy, but it never reached the level of brilliance that Matilda's score did. The set design was great, and they made excellent use of the turntables. The true highlight of the show is Andy Karl who is turning in a truly stellar performance. The show ran two hours and 45 minutes, and I think they need to cut off at least 15 minutes. Overall, though, this was quite fun.

NickMorrison25 said: "...I love a happy ending but it feels so unearned here. Despite Andy Karl's best efforts, and he is very good, the writing doesn't support the character development required for him to become the Phil of the final 20 minutes. His ending with Rita should be a really glorious moment of resolution and triumph, but to me it just sort of happened without any satisfaction..."

I finally got my second viewing in last night. I don't agree
(**** Spoilers Below ****)

Updated On: 3/27/17 at 11:30 AM

Anyone recall the running time?

Yes the show had about a 15 minute technical stop 3/4 of the way thru Act 1. It was during the truck driving scene (which was really fun to watch).

Though I want to ride their Tilt-a-Whirl set.

There was an extended intermission also last night and started about 10 minutes late. We got out right at 11

I saw the show yesterday afternoon and, while I went in excited to see it for its creative team and Andy Karl, I didn't expect to enjoy it as much as I did. It's not groundbreaking theatre, but it's a solid musical comedy with a beautiful score and heart at the center of it.

Karl is fantastic, as usual. This was my first introduction to Barrett Doss and she won me over - beautiful voice with a charming and strong presence. I'm excited to see what else she does.

They can definitley tighten the show up, but the core of the show is there. Lots of laughs and an audience that is truly rooting for the characters.

I would never have thought I would feel emotional at this musical, but I actually shed a tear at the end. Walking out of the theatre, "Groundhog Day" gave me the "good theatre" feels (which is the only way I can describe that feeling), which was a such a plesant surprise.

I wish the show much success and would love to go back to see the show again.

Reading these comments, it sounds as though, as usual, the book is to blame. This shouldn't be a surprise, because producers have again made the fatal (potentially, in this case) mistake of hiring the source's screenwriter (who has no musical theatre experience at all) to adapt their movie into a stage musical. To whom does this maneuver make sense? it sank Nine To Five, Honeymoon in Vegas, Big Fish, Ghost, Leap of Faith, etc.

Danny Rubin has one successful movie credit to his name (Groundhog Day) and that credit was twenty-four years ago. He has no theatre credits at all. Why would one expect him to create a hit multi-million dollar show? That kind of thinking isn't optimistic, it's just foolish.

Producers, a suggestion - try to hire book writers who know theatre. Movies (need it be said?) aren't the same thing.

Of course, if Groundhog Day winds up a hit, you can disregard this post (until the next movie to stage transfer flops).

Anyone think JESSE GREEN will review this for the TIMES...??

Oh cool... thanks!

ChiTheaterFan said: "GilmoreGirl you posted a review of On Your Feet in Chicago right? I seem to recall it was your review I pretty much 100% agree with. You're making me lean toward seeing this during my trip this week. I think I need to add a show that gives me the good feels. I am realizing my lineup is currently slightly depressing... :-/"

Far be if from me to discourage seeing GHD (I'll see it a third time this week), but are you seeing "Come From Away" this trip? I found that to be a good feels musical, despite the context.

newintown: I think you are right, but hope that you have to eat your words. I wonder if this was part of the reason that Scott Rudin dropped out--because he thought they needed another workover on the book by a known quantity.

Updated On: 3/27/17 at 07:18 PM

cb2addict2 said: "I find it really odd that they recorded an OBCR before officially opening. Wouldn't it make sense to record the show in tact after all changes during previews were made? "

Sadly, this show has no tact.

(I didn't really see it yet, heh)

GreasedLightning said: "So then you've clearly got no say in the matter. "

I just popped in for the intact/in tact joke.

I caught this show last night. It appears to need a lot of work. They have spent a lot of money on the sets and technical aspects of the show but the music leaves a lot to be desired. The music in the second act is very different from the first act and not in a good way. It seems like a different team wrote the second act music. A number of songs should be cut since they don't expand upon the story (like Nancy and the Insurance salesman and the Dr's visit). Additionally, while the truck scene was fun, it went on way too long and again, didn't further the plot or the Phil's arc. I was also disappointed that there was no chemistry between the two leads.

The stage craft was great especially the scene where he's everywhere and the turntable is special. It doesn't just turn round but moves off center (it's hard to describe).

They also did a great job of repeating the scenes so that you didn't dread seeing it all over again.

I think the show will play well with out of towners who are looking for something familiar but don't see it as having a long run. In some ways it reminded me of BIG: The Musical.

Vocally the cast is great but the sound engineer needs to work on the balance between the recorded radio sounds and the performer's voices. both were competing with being heard.