|Andy Karl as the Weatherman stuck in February 2. Photo @ Sara Krulwich|
Well I did something I never thought possible -- this afternoon I saw Groundhog Day: The Musical and with that I've seen all four musicals up for a Tony for Best Musical. I've also now seen the two actors thought to be in hot contention for Best Actor in a Musical: Dear Evan Hansen's Ben Platt vs. Groundhog Day's Andy Karl.
How did I like Groundhog Day? Well ... uh ... I liked the parts more than the whole, if that makes sense. I LOVED Tim Minchin's breezy, catchy, compulsively listenable score. I think "Small Town, USA," "Nobody Cares," "One Day," "Night Will Come," "Seeing You," are all great songs and the strength of the score will give Groundhog Day a life after award seasons are over. I also LOVED Andy Karl's smarmy, smug Phil Connors. He plays the character totally different from Bill Murray -- Murray is all sarcastic bite, Karl is a glib pump-and-dump playboy. Andy Karl actually looks like those vapidly handsome weathermen that populate the local news. His voice is also sleepily seductive. In other words, he wins you over even though for most of the show he's a Class A jerk. I know Karl hurt his knee during previews and he wears a leg brace that he now uses for comic effect in the scene with the fur coat (you have to watch the show to get it).
I also loved Rob Howell's scenic design, a rotating set that cleverly allowed the same scenes to keep repeating themselves throughout the musical. Everyone goes on about The Great Comet's set design and yes it is clever to turn a Broadway theater into a cabaret club, but I also believe in the power of old-fashioned, beautiful stage sets and Groundhog Day's set is magical.
|Barrett Doss, photo @ Sara Krulwich|
The supporting characters are not as well-developed as they could be. For instance, Nancy (Rebecca Faulkenberry) is a girl Phil has a one-night stand with. She's never really a big presence in the show, but in Act Two she suddenly gets a sad ballad "Seeing Nancy," which is a lovely tune but the audience hasn't really gotten to know Nancy. So the number was a bit formulaic and (IMO) a rather obvious way to turn the show from humorous to serious. Ned Ryerson (John Sanders) also goes from being a one-note obnoxious insurance salesman to singing a serious song of grief for his wife ("Night Will Come"). The melody itself is haunting. But again, we haven't had a chance to really know Ned beyond the few laugh lines.
As a whole, the show doesn't have the tight focus of Dear Evan Hansen or Come From Away. It lacks the showy glitz of The Great Comet. Personally, I think the race for Best Musical shouldn't even be a race -- Dear Evan Hansen is in a class by itself. However all the other three musicals are very strong -- Come From Away is the feel-good type of show audiences crave, The Great Comet is the offbeat type of show theater nerds love, and Groundhog Day is a genuine star vehicle for a leading Broadway actor. As for Best Actor, Andy Karl's performance, as charming and wonderful as it is, isn't as overpowering as Ben Platt in Dear Evan Hansen. So I don't think Groundhog Day will win Best Musical or Best Actor. But that doesn't mean it's not worth watching -- it is. And it might have the most classic, beautiful score of the four nominees. So Best Original Score? Best Set Design? Maybe?
|Volle and Wagner, photo @ Richard Termine|
I also saw Waitress a second time and loved it even more -- Sara Bareilles' voice was even more powerful, Christopher Fitzgerald was back is Ogie, and the whole evening had a wonderful estrogen-receptor energy.