GROUNDHOG DAY Previews- Page 16

[remark]

Posted: 4/9/17 at 11:10am

Does the show still have that suicide scene? I really didn't find it appropriate.

[ZellMorrowsPledge]

Posted: 4/9/17 at 11:14am

remark said: "Does the show still have that suicide scene? I really didn't find it appropriate.

 

"

Its still there, and really? I thought it was absolutely hysterical and so did the rest of the audience. It was definitely one of the highlights of the show 

Updated On: 4/9/17 at 11:14 AM

[ZellMorrowsPledge]

Posted: 4/9/17 at 11:19am

Lot666 said: "If you have seen this show, would you say that the two songs released online (Seeing You and If I Had My Time Again) are the highlights of the show, or they are representational of the complete score? I like the aforementioned numbers and would be interested if they reflect the overall show, but perhaps not if they are about as good as it gets.

 

"

The score is solid, and the orchestrations are beautiful. There will be sun and Small Town USA are still stuck in my head. One Day, Hope, and Night Will Come are also really gorgeous. If I Had My Time Again and Seeing You definitely give you a good sense of the score and its tone but are not the only good songs in the show.

[JillianSch]

Posted: 4/9/17 at 11:19am

The suicide scene is still included- right after intermission. 

[theatregoer3]

Posted: 4/9/17 at 11:29am

The suicide sequence is one of the best parts of the movie. People would notice its absence.

[Lot666]

Posted: 4/9/17 at 11:46am

ZellMorrowsPledge said: "The score is solid, and the orchestrations are beautiful. There will be sun and Small Town USA are still stuck in my head. One Day, Hope, and Night Will Come are also really gorgeous. If I Had My Time Again and Seeing You definitely give you a good sense of the score and its tone but are not the only good songs in the show."

Thank you!

[nycward]

Posted: 4/9/17 at 12:51pm

I saw the show Friday evening and count me in as one of the many enthusiasts for the the piece. I notice that as previews have continued the consensus on this board is more positive than at the beginning. I believe that speaks to the production itself and not necessarily for the material. The physical production and the staging are a well oiled machine that needs to work seamlessly to achieve its full effect and considering that many people saw the production with technical difficulties I wonder if that would color one's perception of the successful journey of the show. It's trajectory from beginning to end, much like a nightmare, needs the surreal "mes-en-scene" of this production to make us truly feel that we are part of  Phil's "day mare." I think it succeeds wonderfully even if not all of the components of this musical can completely survive a critical scrutiny. Just a Psychotherapist's (and former Director's) interpretation here:) Truly it was my second favorite new musical of the season right behind DEH.

 

[remark]

Posted: 4/9/17 at 1:00pm

theatregoer3 said: "The suicide sequence is one of the best parts of the movie. People would notice its absence.

I went to see the production, not the movie.

 

[MizMamie]

Posted: 4/9/17 at 1:20pm

Groundhog Day is one of my favorite movies, so I wasn't sure if a stage version would be as good as the film or if it could even be pulled off. I went to yesterday's matinee and absolutely loved it! Andy Karl is fantastic, music & lyrics are great, and the staging is amazing (from the front mezz I could really appreciate the intricate timing/choreography that has gone into moving actors and set pieces around the revolving pieces). There were so many hysterical lines and lyrics that I've decided I need to see it again.  

[JustAnotherNewYorker]

Posted: 4/9/17 at 1:22pm

remark said: "theatregoer3 said: "The suicide sequence is one of the best parts of the movie. People would notice its absence.

I went to see the production, not the movie."

The stage of pure nihilism is an important step in Phil's growth

[shanphelia]

Posted: 4/9/17 at 2:40pm

I was able to catch this show first in London and I loved it - and some of its songs have been stuck in my head since last September. I saw this at yesterday's matinee and I feel it has become even better than the London version. Andy Karl is giving a phenomenal performance; he's onstage every minute and goes through an incredible range of song styles, emotions, and physical acting. Tony nom for sure. 

Very strong ensemble cast, too, and beautiful, clever staging. This is not a show that I had expected to make me cry, but I cried in London and I cried yesterday. 

My only slight complaint is that the first act still feels a bit overlong, but on the whole I was immersed in this world and loving the ride. Definitely seeing it again.

Posted: 4/9/17 at 2:47pm

I have to admit, I almost didn't give Groundhog Day the Musical a chance. Yes, the West End production received good review from Brantley at the New York Times, but early reports here on Broadway where that it had turned in to gigantic mess....the mechanics weren't working and the entire cast was performing shows with no set, that the book was confusing and just not funny/borderline offensive. All this combined with the fact that the show is a screen to stage adaptation (which in my opinion is always reason to be cautious with your money ) just screamed, "skip this one". After seeing it tonight, however, I believe it to be the BEST BROADWAY MUSICAL OF THE 2016/17 season.

1) Because of Mr. Andy Karl. You know, I remember seeing him in Altar Boyz years back and thinking he was good, but never BROADWAY STAR. Over the years he's just proved what a terrific musical comedy performer he is. He understands the style of each piece he's in expertly....he's never the same person twice applying such great character choices to roles.  This is a career best! He is everything in Groundhog Day....a misogynistic pig of a man who finds the truly funny and likability in the role. He creates a journey through signing and dancing the gamat of musical theater styles (even some screaming belty 80's hair band rock). He nails every bit, every one liner, every life changing moment until you really feel for this character (you see the progression into a new person by the end of the show). He doesn't make a false move...The Tony Award should go to him this year....because of the difficulty of the role and the nuance of comedy/ drama skills he uses throughout. 

2) The Book by Danny Rubin. The way in which he has structured the show is the smartest I've seen in years. Choosing just the right moments to repeat so we don't have to see the entire day again and again. The way he also had has sure to show Phil changes for the better from day to day. And the way he's also introduced the audience to an entire small town of people and their problems by the end of the show as well as develop a central romance. His tonal switch from musical comedy to serious drama is masterful....the jokes are funny, adult (without being offensive). Dany Rubin should win the Tony Award for this. The best musical comedy book in years.

3) The Direction and Musical Staging....Matthew Warchus is already a well known award winning director, but he's outdone himself here. His work with the tone shifting from musical comedy to dramatic is so hard to pull off...he does it so it feels like real life which switches from humor to sorrow all in the course of the day. The way the show moves is like being on a joyride, the fun seems to never end, but when it needs to be quiet or more serious it is. He understand the balance the audience needs to follow a great story. Tons of great theater magic tricks with how the day starts over and over again and getting andy karl back to the same hotel room bed dozens of times creatively. A really funny and fantastically staged theatrical car chase. The best use of a turn table i have never seen in a musical. They almost never work well....here it becomes a character...the mechanism in which the day moves back and forth so quick and easily. Peter Darling's musical staging is skillful. His use of the townspeople dancing all from character is funny and story driven. But the way it helps move the show from place to place is just expertly thought out....rewinds, flashbacks, fast forwards, changes of perspective.   This man understands dance and movement from every level it can happen.  The final scene that takes place at the Groundhog Day Dance is shifted to a snowstorm in one a beautify the most beautiful ways I've seen. 

4) The set (almost nothing) feels like it is EVERYTHING...at both times it's got a sense of humor and poetry, The lighting is superb and creative...Mostly ln the form of a winter night with all the unique color brought in coming from the events at hand, it is character here as well.

5) the cast is great. All different types and ethnicities here really working hard to make sure each day is the same every time, not easy, they make it look easy. I'd say its the best new ensemble working on a Broadway stage this year as well.

The show is not perfect though, The music and lyrics by Tim Minchin feels like B material. The songs are mainly chorus numbers with short solos scattered throughout. The result is fragmented, it never feels like a full journey is being had through the songs. The sound feels dated, using 80's and 90's pop rock ideas and styles...I guess they felt like it fit the time period of the songs. It gets tedious.  The lyrics are worst part. They lack wit, rhyme, timing of jokes, they are pedestrian and amateurish.  The nights two best songs  "playing nancy" and "night will come" could literally be cut from the show (and possibly still should because of length) because they come from side characters and are introspections about them individually and don't provide any story forwarding elements. Combining them in an act 2 opening number where the audience gets to know all the characters they've met so far more personally  could fix this. In the end it all works in the end because the wonderful structure of the script itself.

Barrett Doss as the leading lady Rita Hanson is the weak link here. She has all the elements and is working hard, but doesn't seem to confidently display them here. Her singing is second rate, her acting is what you'd expect from a musical theater performer (she doesn't find nuance or make bold character choices). She feels like the understudy. I couldn't help but think what a performer like Sara Ramirez would have done with the role.

I highly recommend this show for Musical Comedy lovers...for me it was at the most entertaining and well made show of the year on Broadway in a season of LOTS of new musicals without much style or substance.

[disneybroadwayfan22]

Posted: 4/9/17 at 4:29pm

Well, ironic enough, this just got Best Musical at the Olivier's

[theatregoer3]

Posted: 4/9/17 at 5:17pm

remark said: "theatregoer3 said: "The suicide sequence is one of the best parts of the movie. People would notice its absence.

I went to see the production, not the movie."

Yes, I understood that from your post. I'm saying they're not going to remove one of the most memorable sequences from the movie when recreating it for the stage. The people who had seen the movie would notice it's absence if it were to be removed from the stage interpretation.

[ZellMorrowsPledge]

Posted: 4/9/17 at 5:21pm

I was in the front mezz at yesterday's matinee as well.  It was such a great time. And when I decide to come back I'll probably sit rear orchestra or in the mezz again. There's so much going on and the staging is so unique, I wouldn't be able to take it all in by being too close. 

[little_sally]

Posted: 4/10/17 at 9:16am

I was at Saturday night's performance. This was the musical I was most looking forward to this season and it missed the mark completely for me.  At intermission I thought, "this is enjoyable but very flawed." But mid-way through the second act, it all started to drag and feel tedious. Yes, Andy Karl is his usual amazing self but this story just doesn't sing (which is sad because the movie is so fantastic) and there's nothing else compelling about the production. Minchin's score is a huge disappointment after his work in Matilda. The musical numbers also seemed to drag on and on and on but didn't seem to advance the plot. The Phil/Rita romance seems to come out of nowhere, and I'm sorry but I found Barrett Doss too bland. The songs for the very minor characters also felt like a misstep.

I can see this only getting one nomination for Karl and closing by Labor Day.

Updated On: 4/10/17 at 09:16 AM

[After Eight]

Posted: 4/10/17 at 9:30am

"It's trajectory from beginning to end, much like a nightmare,needs the surreal "mes-en-scene" of this production to make us truly feel that we are part of  Phil's "day mare"

 

Do you mean mise en scene or mess en scene? Because it most definitely was the latter!

[Skimbleshanks2]

Posted: 4/10/17 at 9:41am

Labor Day?? Ugh... But what if it gets raves??

[IdinaBellFoster]

Posted: 4/10/17 at 9:48am

Skimbleshanks2 said: "Labor Day?? Ugh... But what if it gets raves??"

It will only matter if their sales pick up.

[newintown]

Posted: 4/10/17 at 11:28am

"I notice that as previews have continued the consensus on this board is more positive than at the beginning."

I don't believe that's unusual here.

[cb2addict2]

Posted: 4/10/17 at 11:55pm

Caught this tonight, amongst many cast and creatives of SITPWG, Comet, Dear Evan Hansen, Waitress and others.. it was like Broadway's night out. Have to agree with the posters here who didn't care for the show. I hadn't seen the movie so didn't really know what I was getting into, but the book is super thin to a degree where the only character who's plot I found myself "caring" about was Phil's - which for the entirety of Act I is his unapologetic misogyny (and the depression and the booze - but, it's a comedy - what?) 

I kept finding myself comparing this show to my experience seeing Amelie and wondering which show I liked better. Both are carried by leading characters (Soo and Karl) with their counter leading man and woman (Berat and Doss), but for both shows, as strong as the supporting leading roles are performed, they're sort of forgettable in the end. 

I thought the music was nice at times but I much preferred the Matilda score (again, compared this to Amelie, both shows I couldn't really remember any stand out song, but maybe because I've been seeing the Amelie commercial more, I'm remembering that show's music a little better).

On a positive note I thought the staging was really well done and the collapsable set & turntables were really pretty cool. The snow in act II is beautiful (but also when is snow not beautiful on stage lol.. that scene in No One Else in Comet.. brilliant).

Happy to share any more thoughts if people want to know but it's pretty similar to what has already been discussed earlier. 

Updated On: 4/10/17 at 11:55 PM

[dramamama611]

Posted: 4/11/17 at 5:59am

I really liked it, but there were a few spots that dragged and a few things that I didnt like. I LOVED a lot of the production values - the car chase (perfectly cheesey) and the suicide montage  (love dark humor). The show would have been complete without it. It's important.  Its no more inappropriate than Hitler in The Producers.

[newintown]

Posted: 4/13/17 at 12:25pm

By request...

I hesitate to write about Groundhog Day, because there are many many enjoyable moments in it (mostly fun stagecraft), and it has a rather sweet heart. But ultimately, it felt to me like a very very thin Boy Pursues Girl narrative dressed up in a lot of frenetic music, lyrics, and action. I felt like I had eaten a bowl of oats covered in glitter.

Act I seems to be all set-up, filled with a sort of stop and start recitative, never breaking out into an actual song (except perhaps the Truck chase song - more on that later); it meanders, as it sort of needs to, as we watch Phil react in different ways to his situation until he finds a purpose. But the actual story (and score) doesn't seem to start until Act II.

But Act II, for me, falls into the trap of cheap and easy sentiment, with a few too many generic soppy ballads. And the humor throughout rarely rises above (for me) that of a mild sketch comedy show (a la Saturday Night Live not at its worst but also not at its best).

And as for that score - there are three major numbers performed by characters from whom I don't think we need to hear major numbers - that Truck song with the drunks at the bar, the sad death song from the insurance salesman, and most of all that ridiculous Nancy song, which I can't tell if it's sung from the point of view of Nancy or the actress playing Nancy.

And last - the two leads. Barrett Doss is an odd duck - not unattractive, not particularly attractive nor particularly charismatic. She comes across as prickly, cold, a bit of a prude. And her emotional turnaround at the end makes little sense, when one considers how many times she's seen Phil's good side and still resisted him. I would have liked to see a warmer actress with greater charm, I think. As for Karl - I have never in my life seen a role that was such a heavy lift as this - he's singing at radical ends of his range, he's running, he's leaping, he's constantly getting undressed and dressed again, and almost never leaves the stage for more than a few seconds. I can't imagine how he does it. And yet, he still comes across, for most of the show, as a sexy idiotic wise-ass. I admired what he achieved, and yet still never fell for him (as I have for other redeemed musical scoundrels).

I found the point where the groundhog played the drums while the ensemble tapped to sort of represent the show as a whole - forced wackiness, dressing up a rather plain suburban love story.

[mmFan]

Posted: 4/13/17 at 12:27pm

Sounds like overall Groundhog Day gets positive reviews?  How is the music?

Would love to see Dear Evan Hansen, but Groundhog Day is a backup choice.

[ZellMorrowsPledge]

Posted: 4/13/17 at 12:47pm

mmFan said: "Sounds like overall Groundhog Day gets positive reviews?  How is the music?

Would love to see Dear Evan Hansen, but Groundhog Day is a backup choice.

 

"

I thought the music worked, and most of the songs are still stuck in my head. A few of the smaller ballads I can't even remember though. Standouts are There Will Be Sun, Small Town USA, If I Had My Time Again, Hope, and Seeing You. So catchy. And the orchestrations are epic and fill the entire theatre in energy. 

If you can't get tickes to Dear Evan Hansen, this should be right after that show on your must-see list.