When time stops, the best show begins
“Groundhog Day”, directed by Harold Ramis, starring Bill Murray and Andie MacDowell, is a cult classic for many people, perhaps because it defies the conventions of the romantic comedy genre. The cynical weather presenter Phil Connors arrives in a small Pennsylvania town to record the local groundhog’s “prediction” of spring. He is accompanied by the withdrawn cameraman Larry and the inexperienced television producer Rita. Suddenly, Phil realises that he is stuck in a time loop. No matter what he does, everyday he wakes up at exactly 6:00 am on the same day—2 February.
In keeping with the conventions of the genre, the romantic subplot – Phil’s love for Rita – will end happily. However, what is truly interesting is the way in which Phil breaks free from the time loop. The transformation he undergoes turns “Groundhog Day” into a pure moral tale, casting its protagonist as a modern-day everyman and a patron saint for anyone in need of positive change.
Marcin Wierzchowski is a critically acclaimed director, beloved by audiences, known for his bold and deeply moving productions such as “The Secret Life of the Friedmans”, “Disgrace”, “Alte hajm/The Old House”, and the award-winning “Beautiful Zośka”. He is an artist profoundly open to people and their stories. In his work, he masterfully dissects both the human soul and the world around us, with rare empathy approaching the mechanisms behind our choices and actions that sometimes lead to irreversible consequences.
There’s arguably no better Polish director who could—or indeed should—take on Phil Connors’ story. This is especially true given that, in the background to Phil’s journey, the subtle drama of the Punxsutawney community unfolds through its vibrant characters.
“This town feels familiar,” tease the promotional materials, “a small, enclosed world, as enigmatic as a portrait of a bizarre multigenerational family. Everyone is connected: partners, children, neighbours, and old friends. Everyone hides something; everyone is putting on an act. Who needs whom to break the standstill? Is it Phil who needs the residents, or do the residents need him?” Marcin Wierzchowski, an exceptional expert in compelling human stories, is bringing this production to the Capitol—a musical theatre, for the first time in his career—and that makes the Wrocław premiere of “Groundhog Day” one of the festival’s most eagerly anticipated events.
The performance is based on the musical libretto by screenwriter Danny Rubin and author of the music and lyrics Tim Minchin. The Polish translation was created by Marcin Wierzchowski and Rafał Dziwisz. Albert Pyśk, a multiple winner of the Stage Song Review in Wrocław (including the 2019 Journalists’ Award), plays the leading role, alongside Mirella Burcewicz, an extremely promising singing actress and puppeteer.
About the Theatre:
Teatr Muzyczny Capitol embraces new forms of music and theatre while remaining true to its traditions. It stages performances for adults and children, ranging from entertainment shows and Broadway musicals to adaptations of Polish and international literature. These performances engage audiences in an insightful dialogue with the artists. The theatre proves that contemporary musical theatre can offer more than just entertainment; it can also provide a bold reflection on difficult and sometimes controversial issues, both private and public.
It is a municipal theatre and a cultural institution of the City of Wrocław. It is housed in a pre-war cinema theatre building dating from 1929. During its reconstruction from 2011 to 2013, the theatre was enlarged fourfold, equipped with modern stage technology, and its Art Deco interior, the most beautiful in Poland, was meticulously restored.
About the Director:
Marcin Wierzchowski was born in 1976 and is a devoted fan of Tim Minchin. As a child, he used to pretend to film “Robin Hood” with an imaginary camera. Since 2004, he has been professionally pursuing his passion for directing. For thirteen years, he has been teaching acting, directing, and screenwriting at the Film School in Łódź and the Academy of Theatre Arts in Kraków.
Known for his work in auteur psychological theatre, his earliest encounter with musicals came in high school, when he memorized “Jesus Christ Superstar” after being profoundly moved by it. Later, during the production of “Gaz!” at the Fredro Theatre in Gniezno, he collaborated with Justyna Bilik (lyrics) and Anna Stela (music) to transform one act of the three-part play into a proper musical. “Groundhog Day” is his first full-fledged musical. Notably, it is also his first production in two decades for which he is not the scriptwriter.
