Aurora’s Paramount Theatre has excellent timing. Just as that annoying woodchuck known as Punxsutawney Phil was emerging in Pennsylvania, the savvy Fox Valley theater was readying “Groundhog Day,” the first local production of the Broadway musical based on the iconic 1993 Bill Murray movie — which justly brought lasting fame to the town square of beautiful Woodstock, Illinois, where it was filmed.
The weather outside on Friday night’s opening was a close match for the sepia tones of Courtney O’Neill’s droll and unusual set. And, of course, the themes of the piece have a certain uncomfortable resonance for a world emerging from lockdown: for the last two years, plenty of us have felt the weird sensation that days were unfurling pretty much like the ones before.
“Groundhog Day” was not a success on Broadway; even though it didn’t open until April 2017, it was gone by the fall. I’m generally a big fan of the work of Tim Minchin, who contributed music and lyrics alongside Danny Rubin’s book (Rubin cowrote the movie screenplay alongside the late, great Harold Ramis), but “Groundhog Day” suffered from the common film-to-show dilemma of a pervasive sense that no one had really figured out why this movie needed to be a Broadway musical. Beyond at attempt to cash in on the popularity of the beloved movie, of course.
My big problem with the show on Broadway was its goofy approach to small-town Pennsylvania, a stereotype that got old quickly. Director Jim Corti’s new Aurora production (choreography is by Megan E. Farley) does much better in that regard, leavening that wacky stuff with more humanity. That’s a big improvement.
That said, this sometimes over-frenetic production still never fully establishes the level of normalcy crucial to all comedy: If you don’t believe the veracity of the world before everything goes crazy, you don’t laugh so much when it does.
More Top Picks Microfiber Towels
Alex Syiek, who plays the Murray role of Phil the cynical weatherman, has a tough job, of course. In Act 1, he never really establishes the crucial likability we need to empathize with his dilemma of the ever-repeating day and to pull for his relationship with his producer, Rita (Phoebe González). By Act 2, he’s much more settled and emotionally present, but all of that good stuff needs to start sooner, just as the promising Gonzalez needs to more quickly establish her own presence and point of view.
If all of that were in place, and Syiek could show some vulnerability early on, the show would seem much funnier. There’s no need to impersonate or copy Murray, of course, but the script nonetheless revolves around that actor’s blend of sardonic humor and palpable neediness (especially when at the Chicago Cubs). Here, it often feels like everyone is charging toward the next point in the plot, not always leaving much time for a real connection. Simply put: more heart and less plot would help, but in fairness to Paramount, that issue is baked into the material.
As is typical with musicals at this theater, Paramount offers impressive production values, a full pit orchestra, strong vocals, a likable ensemble and a warm greeting back. “Groundhog Day” might well fit your need for a laugh and an escape.
Well, back to before, at least. Still pretty darn welcome in my book.
Chris Jones is a Tribune critic.
Review: “Groundhog Day”
When: Through March 13
Where: Paramount Theatre, 23 E. Galena Blvd.
Running time: 2 hours, 30 mins.
Tickets: $36-$79 at 630-896-6666 or paramountaurora.com
COVID protocol: Audience members must provide proof of vaccination, or a negative COVID-19 PCR test from the last 72 hours, or a negative antigen test from the last 24 hours. Masks are required in the theater.
