Name: Groundhog Day
Start: 2023-05-20
End: 2023-08-19
Location: Old Vic

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Suitable for Ages 12+. Anyone under the age of 16 must be accompanied by an adult.

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Tanisha Spring (Rita Hanson) and Andy Karl (Phil Connors) in Groundhog Day at The Old Vic (2)

Groundhog Day

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The Company in Groundhog Day at The Old Vic

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Andy Karl (Phil Connors) and Tanisha Spring (Rita Hanson) in Groundhog Day at The Old Vic (2)

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Chris Jenkins (Ensemble -Gus-), Nick Hayes (Ensemble -Ralph-) and Andy Karl (Phil Connors) in Groundhog Day at The Old Vic

Born in Baltimore, United States, in 1973, Andy Karl is an Olivier Award-winning actor. In the United Kingdom, he’s best known for playing weatherman Phil Connors in *Groundhog Day*. Like the film, history will repeat itself, as Karl plays Phil in *Groundhog Day* at the Old Vic in 2023.

After graduating from Towson University with a degree in voice and music, Karl made his stage debut as the Rum Tum Tugger in a US tour of *Cats*. He then made his New York debut in Stephen Sondheim’s *Saturday Night* at Second Stage Theatre in 2000, alongside Lauren Ward and Christopher Debut. 

That same year, Karl made his Broadway debut as Joey in *Saturday Night Fever* at the Minskoff Theatre. His Broadway career continued: David Fonda in *The Wedding Singer*, Chad and Kyle in *Legally Blonde,* Joe in *9 to 5*, Fiyero in *Wicked,* Tommy DeVito in *Jersey Boys* and Neville Landless in *The Mystery of Edwin Drood.*

In 2014, Karl played his first lead role in a Broadway musical, taking on boxer Rocky Balboa in *Rocky* at the Winter Garden Theatre. [Read reviews of *Rocky* on New York Theatre Guide.](https://www.newyorktheatreguide.com/reviews/rocky). For *Rocky*, Karl received a Tony Award nomination for Best Actor in a Musical. 

A year later, he was then cast as Bruce Granit in *On The Twentieth Century* earning a second Tony nomination. In a [five-star review on New York Theatre Guide](https://www.newyorktheatreguide.com/reviews/on-the-twentieth-century), a critic said: "this is a musical of extraordinary proportions. It is as fine a production as you will find anywhere. And if musicals are your preferred theatrical flavor, you will be in h-e-a-v-e-n."

Recently, he originated the role of Edward Lewis, as portrayed in the film by Richard Gere, in *Pretty Woman: The Musical* at the Nederlander Theatre. He starred opposite [Samantha Barks](https://www.londontheatre.co.uk/stars-on-stage/samantha-barks) in the Broadway musical.

In 2016, Karl made his West End debut as Phil Connors in *Groundhog Day*, eventually winning the Olivier Award for Best Actor in a Musical. Following the London run, he starred in the Broadway transfer, and received his third Tony Award nomination. In 2023, Karl reprises the role for the Old Vic. 


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If any show was tailor-made for repeat viewings, it’s [*Groundhog Day*](https://www.londontheatre.co.uk/show/27150-groundhog-day). It’s not just the inspired time-loop premise of Danny Rubin’s tale – first seen in his 1993 existential romcom movie, then in this stage musical adaptation with Tim Minchin for the [Old Vic](https://www.londontheatre.co.uk/theatres/old-vic-theatre) in 2016 – but the extraordinary intricacy of both writing and staging, which mean that each encounter with it reveals new wonders. This fresh run proves once again that the production is a timeless triumph.

The magnificent [Andy Karl](https://www.londontheatre.co.uk/theatre-news/news/a-complete-guide-to-groundhog-day-starring-andy-karl), who won an Olivier for his smooth-talking, jaded weatherman Phil Connors, reprises the role. Phil becomes trapped in the small town of Punxsutawney, Philadelphia, after reluctantly reporting on whether its resident groundhog has seen its shadow, which would mean six more weeks of winter. Or, as he grumbles in his dismissive opening number, “talking to hicks about magical beavers.” 

Matthew Warchus (who also collaborated with Minchin on [*Matilda*](https://www.londontheatre.co.uk/show/305-matilda-the-musical-tickets)) creates his own kind of magic through the astonishing repetitions in Phil’s purgatorial trap – even slicker here in this streamlined revival. Each scene has to play out exactly as it did on the “previous” *Groundhog Day*, but with subtle variations (like *Constellations* on a larger scale), as Phil is first baffled, then infuriated, liberated, nihilistic, and finally accepting of his situation.

There are incredible feats of staging in which Karl seems to be in two places at once (the illusions, by Paul Kieve, draw rapturous applause) while the ensemble, brilliantly drilled by Lizzi Gee, has absolute clockwork precision. That’s balanced with endearingly low-tech theatrical solutions to questions like “How do you stage a car chase?” Answer: with handheld miniature vehicles and houses, and a dose of knowing humour.

But *Groundhog Day* isn’t just a logistical tour de force: it’s also a complex, witty, and deeply empathetic drama. Karl delivers an even richer portrait of Phil this time around – and, unlike Bill Murray’s laconic version, his begins explicitly sleazy, nasty, and supercilious. In fact, there’s a hint of *Succession*: You could easily imagine Kendall Roy, as Phil does here, demanding the cops find a “fast lane for celebrities” through the blizzard-struck roads.

He initially uses his time-warp existence to fuel his predatory pickup artist activities – as though each woman is a level on a video game he can keep playing until he wins it. But he can’t bullshit his way into his producer Rita’s heart (or bed), and it’s only when he takes a genuine interest in other people’s lives, instead of manipulating them for his own benefit, that he finds meaning and purpose. 

Karl manages that transition expertly. He’s aided by Minchin’s dazzling, eclectic score, which darts between an incisive takedown of those who promise cure-all solutions – from religious fanatics to alternative therapists proffering reiki or enemas – and a jagged, daringly bleak grunge-rock song as Phil tries various methods of suicide.

Phil eventually discovers that love is in the details – a luminous idea reflected formally in Minchin’s exquisite craftsmanship. There isn’t one lazy rhyme or vague platitude. His lyrics teem with pithy phrases, specific and vivid references, and challenging ideas. It honours an ambitious story that, beneath its droll satire, asks nothing less than what life is for. 

If not quite as fully developed as Phil, the show’s Rita has more of a voice than in the film and stronger agency. Her funniest number articulates the dilemma of the modern woman, who wants a respectful partner, yet guiltily fantasises about a strong man tossing her over his shoulder. Tanisha Spring brings a radiant warmth, shrewd intelligence, and gorgeous vocals to the role, and she has a lovely slow-burn chemistry with Karl.

The best gag in the piece comes when Phil asks two barflies “What would you do if you were stuck in one place, and every day was exactly the same, and nothing you did mattered?” – kicking off a cracking honky-tonk country song in which they express exactly the same defeated sentiment. It's marvellous melancholic (and alcoholic) comic timing from Nick Hayes and Chris Jenkins.

But Minchin also subverts our expectations with several punchline characters, emphasising that everyone has a story worth hearing. In the second half, Andrew Langtree’s annoying, squeaky-voiced insurance salesman Ned Ryerson opens up a well of grief, while Eve Norris passionately delivers a blistering meta-song about being cast as perky, sexualised characters like Phil’s one-night stand Nancy. 

Dismayingly, that latter point feels as pertinent as ever, as do the microaggressions and casual misogyny that come Rita’s way in the workplace. Although she’s a capable 36-year-old associate producer, Phil dismissively calls her “Kid.”

Other elements struck differently post-Covid. We’ve all now experienced that *Groundhog Day* horror of being trapped – strongly evoked in Rob Howell’s claustrophobic hotel room set, nightmarishly lit by Hugh Vanstone. The core point about living for the moment, since no one can “forecast” the future or know when it all might end, hits home with almighty power. 

But the biggest takeaway is the solace that Phil finds when he immerses himself in a community – our greatest loss during the pandemic, both on and off stage. There’s immense joy in both big set pieces like the ensemble doing a soft (snow) shoe shuffle together, and in small moments of human connection. 

Lets hope *Groundhog Day* makes it to the West End this time, so we can savour its brilliance again, and again, and again...

[*Groundhog Day* is at the Old Vic through 19 August. Book *Groundhog Day* tickets on London Theatre.](https://www.londontheatre.co.uk/show/27150-groundhog-day)

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=27150&content_product_id=27150&venue_id=191) 

*Photo credit: Groundhog Day at the Old Vic. (Photo by Manuel Harlan)*

'Groundhog Day' review – this extraordinary musical is a total triumph, again

Read our five-star review of *Groundhog Day*, starring Andy Karl, now in performances at the Old Vic through 19 August.

The Old Vic is amongst London's most revered theatre venues, situated in the heart of the bustling city. Founded in 1818, this prestigious establishment continues to attract audiences with its dynamic array of world-renowned plays, ballets, operas and pantomimes. With a seating capacity of over 1,000, the richly decorated auditorium offers an immersive and intimate experience for all spectators. The Old Vic's enchanting neoclassical exterior and swirling marble foyers take you back in time, while its state-of-the-art sound and lighting system provide a modern and truly spectacular performance environment. Its stellar shows often star internationally acclaimed actors and directors. Over its 200-year legacy, the venue has been the home for breakthrough performances and debuts of some of the greatest plays in theatre history. 

**How to get to the Old Vic Theatre:** The Old Vic is conveniently located near multiple transport links. The nearest underground station is Waterloo, served by the Northern, Bakerloo, Jubilee, and Waterloo & City lines. The theatre is only a short 4-minute walk away. Bus routes 1, 68, 168, 171, 172, 176, 188 serve the area around the theatre. If you are driving, the nearest car park is the Waterloo Car Park located on York Road.

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The Old Vic, originally named the Royal Coburg Theatre, was designed in 1818 by Rudolph Cabanel. Its name was later changed to the Royal Victoria Theatre, then the Royal Victoria Hall, before it took on its nickname of 'The Old Vic' as its official name in 1925. 

The Old Vic has housed acclaimed performances with such celebrated actors as John Gielgud’s *Hamlet*, Laurence Olivier’s *Macbeth* and *Othello* in 1937, and Judi Dench’s Juliet in *Romeo and Juliet*, which was privately performed for The Queen in 1957.

In 1963, the Old Vic became the home base of the [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre) of Great Britain during its formation under Laurence Olivier. The theatre continued to host the National Theatre until the move to South Bank in 1976. 

There are two entrances to the Old Vic: one on The Cut and the other on Waterloo Road, which is an accessible entrance. In 2019, 'Penny', an accessible basement cafe and bar was opened, offering drinks, sandwiches and snacks. 

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The auditorium has three levels - Stalls, Dress Circle, and the Lilian Baylis Circle.

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The Lilian Baylis Circle is high above the ground and overhangs the Dress Circle at row C meaning row E will miss the top of the stage. There are also standing seats available at the sides of this circle.

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Originally named Royal Coburg Theatre, The Old Vic was founded in 1818. It's been home to acclaimed performances and was the base of the National Theatre of Great Britain from 1963 to 1976.

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