Groundhog Day

Dear Broadway Producers,

Do we really need another musical based on a comedy film? Give me one good reason why I should bother shelling out hard earned money for another movie tossed onto the stage? One good reason, dammit!

Andy Karl?

Okay, sold!

That's right, theatergoers, I can absolutely, wholly and highly recommend "Groundhog Day," mostly because Andy Karl takes it upon himself to reinvent the character of Phil Connors, and therefore the story, and play the lunacy and poignancy out of both!

This is a star-making turn that should solidify Karl as a leading man on stage (and possibly every other medium).

Sure Karl was funny enough in the revival of "On the Twentieth Century," but that entire endeavor was pointless, except as a vehicle for Kristin Chenoweth to show off her comedic skills. And I found "Rocky" to be a Broadway blunder of monumental proportions, although Karl managed to do his best to escape the craptacular Stallone-acting traps and etch a real portrait.

In "Groundhog Day" he not only has the deadpan shoes of Bill Murray to fill (and does so), but he smartly throws out Murray's shoes for his own! And he (accidentally) dons a leg brace to set himself apart completely. More about that later.

Strangely, I had never seen the film. I did watch it after I saw the show and I was glad I waited since many of the funniest lines do, indeed, come from the 1993 movie, directed by Harold Ramis and written by Ramis and Danny Rubin.

This adaptation has a book by Rubin, which becomes deliciously dark and nasty but the basic plot comes right from the movie.

Phil Connors is a discontented metropolitan weatherman who is sent to Punxsutawney, Pennsylvania to cover the famous (and silly) Groundhog Day ceremony where the little tyke either sees his shadow or doesn't every February 2nd, signaling an early Spring or six more weeks of winter.

What happens to Phil, though, is a bizarre twist of fate. Without explanation, he reawakens each day on the same day, February 2nd! No matter what he does, it's still the same exact day. And he retains his memory of each past day. At first, it's about discovery and surprise, but things soon take a disturbing turn as Phil realizes he can do whatever he likes without consequences. And, he becomes trapped in the never-ending nightmare.

Musicalizing this wacky plot must have proven an enjoyable challenge for the "Matilda" composer/lyricist, Tim Minchin. And he's created a truly funny, moving, inventive and, sometimes haunting score with very witty and revealing lyrics.

The early songs feel annoyingly clingy and pastiche-like, but there's a method to Minchin's hick-town melody-madness. And he's penned some terrific numbers for Phil as well as a wonderful solo for a peripheral character, Nancy (Rebecca Faulkenberry, making her mark) at the top of Act Two.

Also, there is a clever number that involves various doctors trying to diagnose our meteorologist, a hilarious segment where Phil and his pals (Andrew Call and Raymond J. Lee) drive around shitfaced, a magic-trick series of post-suicide morning scenes as well as a frantic good deed number that had potentially dangerous consequences.

At one of the preview performances, Karl injured himself during the latter number and, valiantly, returned to the show wearing a leg brace. At the performance I attended, that brace did not prove any hindrance. Instead, he poked fun at it and it added to his sex appeal (it resembles a black garter!)

One of the joys in Karl's performance is that he's playing a cad and he fearlessly dives right in and shows us how flawed he is.

Also, director Matthew Warchus isn't afraid to delve into the many possibilities that come with rethinking a film for the stage.

The show truly soars in Act Two when the creative team boldly enters much more daring territory, and Phil's purgatory turns into a hell of sorts, while he tries to see just how far he can push the fate envelope. Here is where "Groundhog Day" searches for deeper meaning and yields something close to sublime.

The only real weak aspect of the production is the love interest, the dull-as-dirt Rita (Barrett Doss). In Doss's defense, the part is horribly underwritten. Shame on the all-male writers!

Karl deserves a real match for his radically good talents. Actually, Karl deserves an original show. After stepping into the shoes of Stallone and Murray, I'd love to see him breathe life into a brand new character. With his drive and charisma, the possibilities are infinite.

"Groundhog Day" runs through September 17 at the August Wilson Theatre, 245 West 52nd Street in New York City. For tickets or information, call 800-745-3000 or visit www.ticketmaster.com