“GROUNDHOG DAY”: Performances are underway for “Groundhog Day.” Presented by Kelsey Theatre and Playful Theatre Productions, and directed by Frank Ferrara, the musical runs through September 29 at Kelsey Theatre. Above: Condescending and aloof TV meteorologist Phil Connors (John Fischer, front row, fifth from left) finds himself trapped in a small town whose residents are, for him, gratingly cheerful and enthused about the titular celebration. (Photo by John M. Maurer)

By Donald H. Sanborn III

Kelsey Theatre is presenting Groundhog Day. Adapted from the 1993 fantasy romantic comedy film starring Bill Murray, the musical portrays a big-city TV meteorologist who finds himself forced to relive the same day, apparently in perpetuity, in a small town that to him is gratingly good-natured.

Groundhog Day opens Kelsey’s “Season of Transformations,” which will include revivals of Jekyll & Hyde, Beauty and the Beast, and 1776. A brochure promises, “Transformations abound in this season — from the transformation of man into monster, and beast into prince, to the transformation of the colonies into the United States of America!”

The book of Groundhog Day is by Danny Rubin, co-writer (with the late Harold Ramis) of the film’s screenplay. The music and lyrics are by actor, composer, and writer Tim Minchin (who also wrote the score for Matilda the Musical). Groundhog Day premiered in London in 2016, and played on Broadway the following year.

Frank Ferrara directs Kelsey’s production, assisted by Jennifer Boutros. In tandem with a capable creative team, the talented and enthusiastic cast makes the most of the musical’s strengths, delivering performances that make the characters’ conflicting personalities entertaining to watch.

Shannon Ferrara capably conducts an orchestra that combines acoustic and electric instruments. This mixture is introduced in a brief overture (dubbed “Phanphare for the Common Groundhog” in the program). A percussion riff, and an ostinato by the bass instruments, give way to flourishes (pushing the trumpets near the top of their range) that would not be out of place in a 1960s spy movie. This is followed by a broader, majestic melody by the guitars. The overall effect evinces a sense of hectic bustle, perhaps of a city reporter’s life.

In an apt acknowledgement both of the protagonist’s career and the show’s basis in a film, Groundhog Day opens with the use of multimedia. Via projected footage we see meteorologist Phil Connors (portrayed by John Fischer) delivering a segment. Several takes are required because of Connors’ condescending, sarcastic quips. Before any major action has taking place, we see him forced to endure repetition.

The cause of Phil’s mood is his immediately forthcoming assignment (which he considers to be beneath him): to travel to Punxsutawney, Pa., to cover the annual Groundhog Day ceremony. In Punxsutawney, the residents eagerly hope that the groundhog, Punxsutawney Phil, will not see his shadow, and that spring is imminent.

In sharp contrast to the polyphony of the overture, the opening number “There Will Be Sun” — performed by the affable townspeople — is gentle and anthemic. The vocal ensemble is lovely here; this is partially a credit to Musical Director Michael Gilch (assisted by Ferrara).

Phil’s trip to the town is charmingly conveyed via a miniature remote control bus (props are by Nancy Russel). Scenic Designer Shawn Simmons and Lighting Designer Vicki Kaiser create an attractive look for the town, with a charming garden replete with lamppost to the right. The script requires characters to be seen driving, which is handled effectively.

As Phil’s first morning in the town begins, he is awakened by an alarm clock — a sound that will become a motif. Sound Designer Noah Schwartz capably handles this and other effects throughout the show. However, throughout the performance (September 21) attended by this writer, there was a technical issue with actors’ microphones not always amplifying them as soon as they start delivering lines, causing some balance issues.

At the broadcast during the ceremony — at which a groundhog mascot (Rebecca Ticas) is ever-present — Phil is characteristically rude to everybody. This includes Larry (Nicholas Kianka), Phil’s patient cameraman; Rita Hansen (Joan Schubin), the long-suffering news producer; Mrs. Lancaster (Denise Carey), the gracious innkeeper of the Cherry Street Inn, where he is staying; and the (almost too) affable Ned Ryerson (Aidan Stallworth-Glitz), Phil’s classmate who now is an insurance broker living in the town.

Phil’s hopes of immediately leaving the town are dashed when the Sheriff (Lynn Baskin), accompanied by a Deputy (Jenna “Jay” Moschella), announces that — contrary to the citizens’ hopeful optimism — snowstorms are necessitating the surrounding roads to be closed. Phil is trapped where he least wanted to be.

In these early scenes, Ferrara and Choreographer Haley Schmalbach astutely keep Phil outside of the ensemble of townspeople, as he resists any immersion in the community.

As in the film, Phil awakens the next morning (and the numerous subsequent mornings after that) to discover that the day has not changed; he is forced to relive February 2 in a time loop, apparently never to leave Punxsutawney.

This is conveyed in a sequence of numbers titled, “Day One,” “Day Two,” and “Day Three.” Lines and events are repeated verbatim. These sequences start to progress from amusing to overlong. Rubin and Minchin could have paid greater attention to pacing, progressively and more consistently abridging repeated events.

Fischer convincingly portrays Phil’s progression of reactions to his plight, from disbelief and irritation, to despair at being “stuck.” In an amusing ensemble number we see him being advised by a Healer (Shawn Simmons); a Naturopath (Jordyn Sava); a Psychiatric Pharmacologist (Pat Rounds); a Scientologist (Amanda Santos); an AA Person (Rebecca Ticas); and a Priest (Alan Naidoff).

Instead of the remedies prescribed by this group, Phil drinks with two of the townspeople, Gus (Kevin Palardy) and Ralph (Michael Gearty). Phil starts to find his situation liberating rather than limiting, though initially the ways in which he takes advantage of it are scarcely responsible, safe, or commendable. Phil’s progression is bookended by two numbers, cleverly titled “Philandering” and “Philanthropy.”

Costume Design Coordinator Shannon Ferrara facilitates a visual depiction of Phil’s development. When we first see him he is formally dressed, with a necktie carefully in place. As he undergoes his journey, his appearance correspondingly changes (often appearing disheveled).

Phil’s less savory uses of his newfound time include attempting to trick a local woman, Nancy Taylor (Trinity Anjelic), into thinking that she and Phil are former classmates, so that he can seduce her. At the beginning of the second act, Nancy sings “Playing Nancy,” in which she contemplates her place in the world, and her relationships with men.

A pleasing mezzo-soprano who knows how to infuse a song with strong, impassioned phrasing, Anjelic admirably delivers “Playing Nancy.” Unfortunately, without more development for Nancy outside of it — seeing her interact with other characters more than she does — the song feels a bit like it exists for its own sake.

Another song that is somewhat symptomatic of a loosening of focus in Act Two is “Night Will Come,” which is ably delivered by Stallworth-Glitz. The poignant number is a vehicle for Ned to comment on the action, following a sad plot development. The effort to give a voice to the other characters is laudable, though what would be more effective here is a song for Phil that conveys the event’s effect on his character.

A versatile baritone, Fischer makes Phil’s solo “Everything About You” — a tender, gently wry ballad that describes his repeated, trial-by-error efforts to learn more about Rita and get closer to her — a standout.

Schubin is similarly strong in Rita’s lilting, world-weary “One Day.” Fischer and Schubin sing well together in the contemplative but restless “If I Had My Time Again.”

The cast is ably rounded out (with several actors playing multiple roles) by Tom Bessellieu; Jessica Casner; Alex Dubinsky; Chrissy Johnson; Cara Pergament; Jeffrey Scharf; Christopher Schmalbach; Dance Captain Emily O’Sullivan; and ensemble members Aaron Ferrara (a sixth grader) and Mina Schneider.

There are places in which the writing of Groundhog Day could be stronger. But as Kelsey Theatre’s entertaining production demonstrates, the show’s strongest segments — particularly those involving Phil’s pursuit of Rita, and his efforts to transform his relationship with her from adversarial to romantic — have potential to audibly amuse and charm its audience.

In theater, the addition of production elements — especially lively performances — to a script and score is the ultimate transformation.

“Groundhog Day” will play at the Kelsey Theatre at Mercer County Community College, 1200 Old Trenton Road in West Windsor, through September 29. For tickets, show times, and further information call (609) 570-3333 or visit kelsey.mccc.edu/shows_current.shtml.