They’re being taught the musical’s opening number. From inside the rehearsal room, loud enough to boom through a soundproofed door, the new cast of Groundhog Day burst into song. He is confident things will work out better this time. If you want to go there to make your moolah, then you can’t be surprised if you have a rough ride.”įittingly, given that Groundhog Day is a story about do-overs, Minchin and his collaborators will try to revive their beleaguered musical at the Old Vic in London next month. “Mamma Mia’s one of the highest-selling musicals ever … Broadway is not a measure of what is good, or not to me. “It’s not a meritocracy,” Minchin shrugs. Groundhog Day closed on Broadway in autumn 2017, after 200-odd performances, and has more or less sat in a drawer since. “When you make something so detailed, over so many thousands of hours, something you think is broadly appealing, about how we’re to be as people – and it doesn’t fly? That’s incredibly painful,” Minchin says.ĭressed today in muted colours, his famous untidy reddish hair tied back under a baseball cap, he lists the little catastrophes that hobbled Groundhog Day seven years ago: investors pulling out the choreographer falling ill a feeling of being rushed to New York after a strong London opening, before the show was quite ready.
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