Endless Deja Vu

Groundhog Day: The Musical

Each year, Phil Conners, a cynical, arrogant, womanizing television weatherman from Pittsburg, is assigned to cover the annual Groundhog Day celebration in the rural town of Punxsutawney, Pennsylvania. Cocky Mr. Conners views this assignment as being beneath his journalistic talent. However, once again he reluctantly accompanies his cameraman, Larry, and Rita Hanson, his lovely new producer, to the small hamlet, whose only claim to fame is a meteorologically clairvoyant rodent. From the start, things don’t go very well…and they continue to grow worse.

Based upon the beloved 1993 film, starring Bill Murray and Andie MacDowell, the musical follows the exact same plot as the movie. Phil Conners arrives the day before he’s supposed to report on the Groundhog Day festivities. Booked at a quaint little bed & breakfast, the alarm clock wakes him up at 6 a.m. on February 2. He rolls out of bed, dresses and comes downstairs for a quick cup of coffee and some banal pleasantries with his hostess and a couple of guests. Then he leaves for Gobbler’s Knob to cover the big Groundhog Day prediction ceremony, that announces when winter will finally end. Once there, Conners rolls his eyes while schmoozing with the townsfolk, quips a few cutesy, clever lines in front of the camera, and then the festivities are over. It’s a wrap and time to thankfully head back Pittsburgh. 

But it’s rumored that a big snowstorm may be arriving that will shut down all of the roads leading out of Punxsutawney. Conners scoffs at this news because, of course, he is the weather forecaster and would obviously know this. But then the blizzard hits hard and the town comes to a standstill. The real problem begins when the sarcastic weatherman wakes up the following morning to find that, strangely, he’s reliving that same day once more. And, horrifyingly, this keeps happening over and over and over again.

This storyline begins to become monotonous and aggravating, both to Phil Conners and to the audience. Deja Vu, again and again and again, turns into reality in this overly long, redundant story. Just like the central character, you start to wish it would just end. At first Conners is confused and frustrated by this repetitive occurrence; then he starts to find it comical. Phil realizes he’s going to run into the same people every single day, and he knows what they’ll do and say to him and to each other. The Groundhog Day festivities repeat, the same as the day before, with the sarcastic weatherman trying his best to change things up and end this cycle of monotony. But no matter what Conners does, even eventually trying to kill himself in an attempt to end this tedious time warp, each day dawns again and it’s always February 2nd.

Danny Rubin wrote both the script for the Bill Murray movie and the libretto for this musicalized stage version, so the stories are essentially identical. The music and lyrics were written by Tim Minchin, who achieved fame with his score for “Matilda, the Musical.” His songs for that theatrical Roald Dahl adaptation were far more delightful and even offered a few songs that audiences remembered after the final curtain. Unfortunately, Minchin doesn’t have the same success with this musical score and you leave the theatre without recalling a single song.

Talented Artistic Director Jim Cori directs his production with his usual great skill and typical passion, and his cast is very good. In the leading role, Brooklyn-based actor Alex Syiek brings good looks, a winning smile and an excellent singing voice to the role of Phil Conners. Some of his previous credits include Harold Hill in “The Music Man,” as well as the title character is “Bloody, Bloody Andrew Jackson.” Anyone familiar with these two characters can anticipate what talents Mr. Syiek offers in portraying Phil Conners. Additionally he comes off as a jaded, good, old city boy, with a huge ego and a smugness that he’s God’s gift to women. But Phil is about to meet his match.

In Rita Hanson, as played here by lovely and multitalented Phoebe Gonzalez, we get a feisty young professional woman who’s not about to let some smart-alecky weatherman take advantage of her. Although she’s not really looking for romance, if it happens to come her way, then it’s got to be special. Ms Gonzalez has been seen on stages all over the Chicago, from Steppenwolf to Writers Theatre, from the Marriott to Chicago Shakespeare Theatre. Her portrayal of Rita is more memorable than Andie MacDowell’s portrayal in the film. She’s sassy and strong, while also conveying sincere likability, a nice warmth and a bit of vulnerability. She makes a good foil for Mr. Syiek’s character, and when things begin to heat up romantically, their chemistry is strong.

The enormous ensemble are all talented triple threats and troupers who work their rear ends off to make this production work. Each actor creates a solid, three-dimensional character that’s both realistic and unique. Remembered for his lovable Buddy the Elf, as well as the Scarecrow in Paramount’s “The Wizard of Oz,” talented Kyle Adams is a winner here as Conners’ former nerdy high school acquaintance, insurance salesman Ned Ryerson. Karl Hamilton is natural, funny and homey as the town Sheriff, a bumbling guy who’s constantly losing his gun belt. He’s teamed up with the comical Veronica Garza as his starstruck Deputy. Beautiful Emily Rohm is charming and almost unrecognizable as Mrs. Lancaster, the middle-aged hostess of the bed & breakfast. 

Incomparable songstress Sophie Grimm stands out in several good scenes, both as Mrs. Cleveland and as the town’s Piano Teacher. Jake Morrissy leaves his mark as the silent, but hilarious Groundhog mascot. He’s remembered as the perfect-played Leo Bloom in Paramount’s production of “The Producers.” No stranger to the Paramount stage, lovely Haley Jane Schafer is both funny and sad as the easy girl, Nancy Taylor. Her second act opening number is especially touching. Always a treat in any show he appears in, Vasily Deris is a riot here as Buster. In fact, suffice it say, every single member of this wonderful, 29-member cast is a star!

The behind-the-scenes artists supporting this production are all top notch and bring their finest work to this musical. Kory Danielson is not only Musical Director, he’a also on keyboard and conducts the talented, 12-member pit orchestra. The choreography provided by Megan E. Farley is fun and exciting. Courtney O’Neill’s interesting scenic design is quite original. It features a metal semicircular proscenium arch that frames the show, with a geodesic dome that fills the entire stage, providing entrances for the actors and some movable set pieces. This arched arcade becomes a blank domed canvas, upon which that magician of projection design, Mike Tutaj, has created an ever-evolving array of scenic locales and moving images that give life to this play. The effect, especially toward the end of the musical, is like a giant snow globe. Greg Hofmann has lit the production with his usual artistry, and the costumes by Jordan Ross and wigs, hair and makeup by Katie Cordts add a lot to the authenticity of this piece.

Paramount’s latest musical which, appropriately enough, opens in Aurora during the week of the actual Groundhog Day holiday, is pleasant and fun. It’s just that the repetitious storyline, which begins as humorous, eventually wears thin and becomes simply annoying. The second act is darker, but much more interesting. You don’t leave the theatre humming any of the songs, but you’ll certainly remember the performances and the wintery look of the show. The direction is superb, the cast and artistic support give it their all, but the show never quite achieves the same level of entertainment and wonder of Paramount’s opening production of “Kinky Boots.” It’s just amounts to another movie that’s been adapted for the stage, that plunges the audience, as well as the main character, into a feeling of endless deja vu.   

Recommended

Reviewed by Colin Douglas

Presented February 4-March 13 by Paramount Theatre, 23 East Galena Blvd., Aurora, IL.

Tickets are available in person at the box office, by calling 630-896-6666 or by visiting www.paramountaurora.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.