Chicago Tribune is mixed to positive (he loves the book and score):
"It takes a few minutes to get used to what Karl is doing — but this really is, in the final analysis, a highly effective and intensely skillful lead performance. Karl never oversentimentalizes nor seems afraid of coming off as a jerk. But he is just — just — likable enough as Phil to keep us invested in a cynic's rehabilitation and thus serves the core of what (in this stage version) becomes, yet more fundamentally, a romantic yarn. You want this pair to make it happen for each other, and get out of their destructive personal cycles.
That's key to the show's success, for as the great Ramis and Murray well understood, the whole shebang always was a metaphor for self-improvement and for coming to terms (kinda) with the quotidian perils of our daily existence, over and over and over again."
"Director Warchus stages most scenes with vibrancy, particularly a car chase sequence. At first, movement is suggested by cloaked performers holding up miniature houses and running past a truck. As the action steadily builds, the whole thing somehow goes vertical, giving the audience what appears to be an aerial, “Frogger”-like view of the chase.
It’s marvelously good fun. As is, for the most part, all of “Groundhog Day.” The musical is mostly consistent with the devilish humor in its cinematic predecessor, and Karl is a magnetic leading man whose “show-must-go-on” fortitude is now the talk of Broadway."
Jeffrey, there is already a page that is updated with links. If you are not going to comment on the reviews and give a recap, please stop posting them.
"There’s nothing quite like the power and the passion of Broadway music. "
bwayphreak234 said: "Jeffrey, there is already a page that is updated with links. If you are not going to comment on the reviews and give a recap, please stop posting them.
In fairness to Jeffrey, he is usually much quicker to update than the dedicated BWW page. I appreciate his posts.
'I saw Andy Karl in “Groundhog Day” on Thursday, and he was terrific. So, in fact, was the show, an ingenious, witty, dark yet joyously offbeat musical about Phil Connors, a snotty big-city TV weatherman forced to relive the same day, over and over in boring small-town Punxsutawney, Pennsylvania, until, just maybe, he gets it right.'
Butter Broadway said: "This show is obviously not going to be as big a hit as people thought it would be. Just the truth. Don't see it getting nominated.
'But Mr. Karl is a very persuasive guide to the show’s mercurial moods. And as he maps out the many phases of Phil, New York audiences have the rare chance to witness the full emergence of a newborn, bona fide musical star. Thanks to his character’s successive reincarnations, Mr. Karl is giving not one but many of the best performances of the season.'
Very positive (borderline rave) from Brantley, outright rave for Karl
There are unexpectedly poignant solos for supporting characters, like the town beauty (Rebecca Faulkenberry) and a bereaved insurance salesman (John Sanders). And the riotous “Nobody Cares,” in which Phil goes driving drunk with a couple of barflies (Andrew Call and Raymond J. Lee, both hilarious), becomes an ingeniously staged exercise in hedonistic hopelessness. (Let’s pray that glitch is fixed permanently.)
Will Broadway audiences be willing to follow “Groundhog Day” into its darkest corners? (A repeated suicide sequence is a demonic doozy.) The bigger problem for many might be the plenitude of styles in which the movie traffics. The show is tighter and more consistent than when I saw it at the Old Vic in London (where the show and Mr. Karl picked up Olivier Awards). But it could still shed a number or two, including a long sequence in which Phil consults various fraudulent doctors.
Generally he seems to like the other characters' songs (a point of contention here) but does admit they go a number or two too far.
glad to see the super positive review from the times, brantley even noted it to be "tighter and more consistent than when I saw it at the Old Vic in London"