Name: Pygmalion
Start: 2023-09-06
End: 2023-10-28
Location: Old Vic

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Olivier and Tony Award-winner Richard Jones (Endgame, The Hairy Ape) directs the Olivier Award-winning duo of Bertie Carvel (The 47th, The Crown) and Patsy Ferran (Camp Siegfried, A Streetcar Named Desire) in George Bernard Shaw’s Pygmalion.

Born in Valencia, Spain in 1989, Patsy Ferran is a West End actress. She’s best known for her performance in *[Summer and Smoke](https://www.londontheatre.co.uk/show/summer-and-smoke)* at the [Duke of York’s Theatre](https://www.londontheatre.co.uk/theatres/duke-of-yorks-theatre).

Both of Ferran’s parents are Spanish, however the family moved to England when Ferran was a child. After studying in Surrey, she went on to study Drama and Theatre Arts at Birmingham University. But, her higher education didn’t end there, as she trained at the Royal Academy of Dramatic Arts, graduating in 2014.

Ferran made her West End debut in 2014, playing Edith in *Blithe Spirit* at the [Gielgud Theatre](https://www.londontheatre.co.uk/theatres/gielgud-theatre), opposite [Angela Lansbury as Madame Arcati](https://www.londontheatre.co.uk/reviews/blithe-spirit-gielgud-theatre-2014). That same year, she also made her [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre) debut, taking on the role of Jim in a stage adaptation of Robert Louis Stevenson’s *Treasure Island*. The next couple of years saw Ferran continually on stage, but it wasn’t until 2018 that Ferran would become a household name.

In 2018, she played Alma Winemiller in Tennessee Williams’ *Summer and Smoke*, originally at the [Almeida Theatre](https://www.londontheatre.co.uk/theatres/almeida-theatre). In a [review for LondonTheatre.co.uk](https://www.londontheatre.co.uk/reviews/review-tennessee-williams-summer-and-smoke-at-the-almeida-theatre), Will Longman said: “Ferran takes centre stage, building up one of Alma’s all-encompassing panic attacks, gulping and gasping hysterically into a microphone, you know she is going to deliver something special. From Alma’s shy, timid demeanour, to outbursts or maniacal laughter, her convincing performance is reason alone to see this production.” After an acclaimed start at the Almeida, the production transferred to the Duke of York’s Theatre in November 2018 for a two month run. The following year, Ferran won her first Olivier Award for Best Actress in a Play, beating the likes of [Gillian Anderson](https://www.londontheatre.co.uk/actor-profile/gillian-anderson), Sophie Okonedo and [Katherine Parkinson](https://www.londontheatre.co.uk/actor-profile/katherine-parkinson).

Since her Olivier win, Ferran has returned to the Almeida to star in an adaptation of *[Three Sisters](https://www.londontheatre.co.uk/show/three-sisters)* as Olga. She briefly made her Broadway debut in a revival of *Who’s Afraid of Virginia Woolf?*, but the production was postponed after nine previews due to the Coronavirus pandemic and ultimately cancelled.

Recently, Ferran has starred in *[A Christmas Carol](https://www.londontheatre.co.uk/show/a-christmas-carol-bridge-theatre)* at the [Bridge Theatre](https://www.londontheatre.co.uk/theatres/the-bridge-theatre) and *[Camp Siegfried](https://www.londontheatre.co.uk/show/camp-siegfried)* at the [Old Vic](https://www.londontheatre.co.uk/theatres/old-vic-theatre). She will next star in *A Streetcar Named Desire* at the Almeida Theatre to Olivier Award-nominated acclaim, and its subsequent West End transfer at the Phoenix Theatre.

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Age guidance 14+ For all performances anyone aged under 16 must be accompanied by an adult over 18.

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A Streetcar Named Desire

Born in Valencia, Spain in 1989, Patsy Ferran is a West End actress. She’s best known for her performance in Summer and Smoke at the Duke of York’s Theatre.

Patsy Ferran - Stars on Stage | London Theatre

Suitable for Ages 12+. Anyone under the age of 16 must be accompanied by an adult.

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Tanisha Spring (Rita Hanson) and Andy Karl (Phil Connors) in Groundhog Day at The Old Vic (2)

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If any show was tailor-made for repeat viewings, it’s [*Groundhog Day*](https://www.londontheatre.co.uk/show/27150-groundhog-day). It’s not just the inspired time-loop premise of Danny Rubin’s tale – first seen in his 1993 existential romcom movie, then in this stage musical adaptation with Tim Minchin for the [Old Vic](https://www.londontheatre.co.uk/theatres/old-vic-theatre) in 2016 – but the extraordinary intricacy of both writing and staging, which mean that each encounter with it reveals new wonders. This fresh run proves once again that the production is a timeless triumph.

The magnificent [Andy Karl](https://www.londontheatre.co.uk/theatre-news/news/a-complete-guide-to-groundhog-day-starring-andy-karl), who won an Olivier for his smooth-talking, jaded weatherman Phil Connors, reprises the role. Phil becomes trapped in the small town of Punxsutawney, Philadelphia, after reluctantly reporting on whether its resident groundhog has seen its shadow, which would mean six more weeks of winter. Or, as he grumbles in his dismissive opening number, “talking to hicks about magical beavers.” 

Matthew Warchus (who also collaborated with Minchin on [*Matilda*](https://www.londontheatre.co.uk/show/305-matilda-the-musical-tickets)) creates his own kind of magic through the astonishing repetitions in Phil’s purgatorial trap – even slicker here in this streamlined revival. Each scene has to play out exactly as it did on the “previous” *Groundhog Day*, but with subtle variations (like *Constellations* on a larger scale), as Phil is first baffled, then infuriated, liberated, nihilistic, and finally accepting of his situation.

There are incredible feats of staging in which Karl seems to be in two places at once (the illusions, by Paul Kieve, draw rapturous applause) while the ensemble, brilliantly drilled by Lizzi Gee, has absolute clockwork precision. That’s balanced with endearingly low-tech theatrical solutions to questions like “How do you stage a car chase?” Answer: with handheld miniature vehicles and houses, and a dose of knowing humour.

But *Groundhog Day* isn’t just a logistical tour de force: it’s also a complex, witty, and deeply empathetic drama. Karl delivers an even richer portrait of Phil this time around – and, unlike Bill Murray’s laconic version, his begins explicitly sleazy, nasty, and supercilious. In fact, there’s a hint of *Succession*: You could easily imagine Kendall Roy, as Phil does here, demanding the cops find a “fast lane for celebrities” through the blizzard-struck roads.

He initially uses his time-warp existence to fuel his predatory pickup artist activities – as though each woman is a level on a video game he can keep playing until he wins it. But he can’t bullshit his way into his producer Rita’s heart (or bed), and it’s only when he takes a genuine interest in other people’s lives, instead of manipulating them for his own benefit, that he finds meaning and purpose. 

Karl manages that transition expertly. He’s aided by Minchin’s dazzling, eclectic score, which darts between an incisive takedown of those who promise cure-all solutions – from religious fanatics to alternative therapists proffering reiki or enemas – and a jagged, daringly bleak grunge-rock song as Phil tries various methods of suicide.

Phil eventually discovers that love is in the details – a luminous idea reflected formally in Minchin’s exquisite craftsmanship. There isn’t one lazy rhyme or vague platitude. His lyrics teem with pithy phrases, specific and vivid references, and challenging ideas. It honours an ambitious story that, beneath its droll satire, asks nothing less than what life is for. 

If not quite as fully developed as Phil, the show’s Rita has more of a voice than in the film and stronger agency. Her funniest number articulates the dilemma of the modern woman, who wants a respectful partner, yet guiltily fantasises about a strong man tossing her over his shoulder. Tanisha Spring brings a radiant warmth, shrewd intelligence, and gorgeous vocals to the role, and she has a lovely slow-burn chemistry with Karl.

The best gag in the piece comes when Phil asks two barflies “What would you do if you were stuck in one place, and every day was exactly the same, and nothing you did mattered?” – kicking off a cracking honky-tonk country song in which they express exactly the same defeated sentiment. It's marvellous melancholic (and alcoholic) comic timing from Nick Hayes and Chris Jenkins.

But Minchin also subverts our expectations with several punchline characters, emphasising that everyone has a story worth hearing. In the second half, Andrew Langtree’s annoying, squeaky-voiced insurance salesman Ned Ryerson opens up a well of grief, while Eve Norris passionately delivers a blistering meta-song about being cast as perky, sexualised characters like Phil’s one-night stand Nancy. 

Dismayingly, that latter point feels as pertinent as ever, as do the microaggressions and casual misogyny that come Rita’s way in the workplace. Although she’s a capable 36-year-old associate producer, Phil dismissively calls her “Kid.”

Other elements struck differently post-Covid. We’ve all now experienced that *Groundhog Day* horror of being trapped – strongly evoked in Rob Howell’s claustrophobic hotel room set, nightmarishly lit by Hugh Vanstone. The core point about living for the moment, since no one can “forecast” the future or know when it all might end, hits home with almighty power. 

But the biggest takeaway is the solace that Phil finds when he immerses himself in a community – our greatest loss during the pandemic, both on and off stage. There’s immense joy in both big set pieces like the ensemble doing a soft (snow) shoe shuffle together, and in small moments of human connection. 

Lets hope *Groundhog Day* makes it to the West End this time, so we can savour its brilliance again, and again, and again...

[*Groundhog Day* is at the Old Vic through 19 August. Book *Groundhog Day* tickets on London Theatre.](https://www.londontheatre.co.uk/show/27150-groundhog-day)

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=27150&content_product_id=27150&venue_id=191) 

*Photo credit: Groundhog Day at the Old Vic. (Photo by Manuel Harlan)*

'Groundhog Day' review – this extraordinary musical is a total triumph, again

Read our five-star review of *Groundhog Day*, starring Andy Karl, now in performances at the Old Vic through 19 August.

The Old Vic, originally named the Royal Coburg Theatre, was designed in 1818 by Rudolph Cabanel. Its name was later changed to the Royal Victoria Theatre, then the Royal Victoria Hall, before it took on its nickname of 'The Old Vic' as its official name in 1925. 

The Old Vic has housed acclaimed performances with such celebrated actors as John Gielgud’s *Hamlet*, Laurence Olivier’s *Macbeth* and *Othello* in 1937, and Judi Dench’s Juliet in *Romeo and Juliet*, which was privately performed for The Queen in 1957.

In 1963, the Old Vic became the home base of the [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre) of Great Britain during its formation under Laurence Olivier. The theatre continued to host the National Theatre until the move to South Bank in 1976. 

There are two entrances to the Old Vic: one on The Cut and the other on Waterloo Road, which is an accessible entrance. In 2019, 'Penny', an accessible basement cafe and bar was opened, offering drinks, sandwiches and snacks. 

## Old Vic Seating Information

The auditorium has three levels - Stalls, Dress Circle, and the Lilian Baylis Circle.

Despite the Dress Circle overhang, this doesn’t affect the view due to pillars. There is also a staggered rake that will be noticeable from row J to allow better viewing.

The Lilian Baylis Circle is high above the ground and overhangs the Dress Circle at row C meaning row E will miss the top of the stage. There are also standing seats available at the sides of this circle.

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Who knew there was a Nazi summer camp on New York's Long Island in the 1930s? While renting a house there during the pandemic, American playwright Bess Wohl began reading about <a href="/show/camp-siegfried">Camp Siegfried</a> in the town of Yaphank, where kids marched down Hitler Street and flower beds were planted like swastikas. In fact, it was one of several such camps in the U.S., fascism and hatred gathering force in plain sight.What a compelling premise for drama, and Wohl takes the astute decision to make this an intimate two-hander. It's that familiar tale of girl meets boy, a transformative summer romance, but instead of, say, learning to ballroom dance and carry a watermelon, it's a programme of indoctrination and pure-blood breeding.We're in 1938, and it's the first time at camp for the character known simply as Her, aged 16. She lives in Baltimore and has come at the behest of her aunt; her family wants her to be more outdoorsy. The boy, Him, is just a year older, but a shining example of golden Hitler Youth: preaching camp spirit and Germanic pride while chopping wood with macho, groin-thrusting athleticism.Yet more connects them that they initially realise - and leaves them dangerously vulnerable to such extremist ideology. Both feel like outsiders, belittled by parents and classmates, anxious to belong. She becomes a zealous student, absorbing Hitler's speeches about revolutionary change alongside her vocabulary lessons, while he embraces their relationship as the key to winning approval.Wohl keeps a tight focus on the pair, so that the wider implications only gradually become clear. At first, we're just watching a funny, sweetly awkward adolescent courtship. Yet Luke Thallon is heartbreaking as his character, on the surface so assured, begins to open up to her and express his fear that there's an inescapable darkness inside of him, exacerbated by the pressure put on men to appear strong.The mesmeric <a href="/actor-profile/patsy-ferran">Patsy Ferran</a> adeptly builds up a fascinating, complex portrait of a girl with a feverish mind who is too knowing in some ways (including a fling with an older man) and achingly naïve in others. There's a strain of self-loathing, even self-harm, born from pre-empting others' criticism.But finding her place within the camp, aided by this boy, gives her a kind of rebirth. And she's hungry for it. While watching him splitting wood, she flinches at the violence of the action, yet is transfixed. There's an ecstasy to her discoveries; she even uses a Hitler passage as foreplay. By the time she's making a scorching anti-Semitic speech, buzzed on adrenaline, she's miles from where she started, but we can see the exact path she has trodden.Worse than that: we've trodden it with her. Katy Rudd's production cleverly uses the show as a parallel seduction to the camp's radicalisation, theatrical trappings twisting our sympathies. Wohl's message, lent a terrible urgency by our current political landscape, comes blazing through: we must not sleepwalk into this again.Rosanna Vize's stylistic set features a backdrop of slats, suggesting the camp's woods, while Ian Dickinson's sound design and Rob Casey's lighting deliberately flood our senses.However, it would all work better in a smaller space; there's a battle here to create the right sense of claustrophobia in the Old Vic. Wohl's play also can't quite stick the landing: the writing becomes too blunt and contrived. But this is still a riveting piece, crackling with menace.<a href="/show/camp-siegfried">Camp Siegfried is at the Old Vic to 30 October.</a>Photo credit: Luke Thallon and Patsy Ferran (Photo by Manuel Harlan)

'Camp Siegfried' review - a compelling, crackling drama heightened by modern politics

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The Duke Of York’s Theatre opened as the Trafalgar Square Theatre in 1892.The playhouse received its current name three years later in 1895, in honour of the future King George V. 

Famous productions to play at the Duke Of York’s Theatre include David Belasco’s *Madame Butterfly* in 1900 – Puccini was in the audience and famously turned the story into an opera. J. M. Barrie's famous creation *Peter Pan, or The Boy Who Wouldn’t Grow Up* opened at the theatre on 27 Dec. 1904.

Typically, the Duke of York's Theatre is home to short-running plays, with West End and Broadway stars appearing.

## Duke of York's Theatre Seating Information

The auditorium has three levels – Stalls, Royal Circle and Upper Circle.

The Stalls offer good legroom throughout, and the raking of the seats is very good, noticeably from Row D onwards. 

In the Royal Circles, there is no visual obstruction from the Upper Circle. 

The seats in the Upper Circle curve towards the stage. The final two rows of the Upper Circle are bench seats.

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Duke of York's Theatre

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Nicholas Hytner and Nick Starr spearhead the Bridge Theatre. Having worked together at the [National Theatre](https://www.londontheatre.co.uk/theatres/national-theatre) for over a decade as artistic and executive directors, Hytner and Starr formed the London Theatre Company as part of their efforts to open the largest Off-West End commercial theatre. The 900-seater auditorium is very adaptable and allows shows to be presented in end-on, thrust and promenade formats. 

Production aside, the theatre was praised for its abundance of ladies toilets and its on-site kitchen which, among other things, provides treats freshly baked on site during the interval. 

In 2017, the theatre's inaugural season included a new Richard Bean play *Young Marx*, starring [Rory Kinnear](https://www.londontheatre.co.uk/actor-profile/rory-kinnear) and Oliver Chris, *Julius Caesar* starring Ben [Whishaw](https://www.londontheatre.co.uk/actor-profile/ben-whishaw) and David Calder, and a new play by Nina Raine about the life of JS Bach starring [Simon Russell Beale](https://www.londontheatre.co.uk/actor-profile/simon-russell-beale).

Notable plays at the Bridge Theatre include *The Lion, the Witch and the Wardrobe,* as well as *My Name is Lucy Barton* and *Straight Line Crazy* — the latter two both transferring to New York.

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Bridge Theatre

The Almeida Theatre opened in 1980. Prior to the theatre, the building was home to a lecture hall and a collection of reading rooms. The building is Grade II-listed by English Heritage.

The Almeida Theatre aims to propel the next generation of British theatre creatives to stardom. World premieres often take place at the Almeida Theatre, including *American Psycho*, *King Charles III*. It's also been home to plenty of adapted plays too, reinvigorating centuries old plays with a newer lease of life. Plays at the Almeida Theatre regularly transfer to the West End too, including *The Doctor* and *Summer and Smoke.*

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Almeida Theatre

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The Phoenix Theatre opened on 24 Sept. 1930. It was built on the site of the Alcazar Music Hall, a performance space that had fallen from grace into a casino.

Noël Coward’s *Private Lives* opened the Phoenix Theatre, starring Noel Coward and Laurence Olivier. On Coward's 70th birthday, the bar in the foyer of the theatre was given the name the Noël Coward Bar in his honour.

The theatre’s greatest success arrived in November 1991 in the form of *Blood Brothers*, Willy Russell’s musical. It ran for 21 years, finally closing on 10 Nov. 2012. The Phoenix Theatre was also home to the West End premiere of *Come From Away.*

## Phoenix Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle.

The seats in the Stalls offer very good views of the stage, with a light rake in the seating helping seats further back. 

The view from the Dress Circle is generally very good, though the rake of the seating is not as noticeable as in other theatres. 

The Grand Circle is surprisingly close to the stage, which is great for feeling involved in the show.


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Phoenix Theatre

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[Andy Karl](https://www.londontheatre.co.uk/stars-on-stage/andy-karl) reprises his Olivier Award-winning performance as weatherman Phil Connors in the zany musical. *Groundhog Day* tickets are available on London Theatre now. 

The *Groundhog Day* musical is based on the 1993 *Groundhog Day* film of the same name, and both feature a script by Danny Rubin. The musical follows Phil Connors, a television weatherman who reassures viewers on 1 February that a blizzard will not hit western Pennsylvania. That same evening, he's sent on an assignment and begrudgingly travels to Punxsutawney, a small town 90 minutes outside of Pittsburgh, to cover the “Groundhog Day” festivities. 

Every year, an infamous groundhog —  Punxsutawney Phil — "predicts" the weather. But in a turn of events, Phil Connors is stuck in his own time loop. In order to prevent being forced to relive 2 February over and over again, Phil must change the way he approaches life, and the world around him. Will Phil stop being a cynic?

In a [2016 *Groundhog Day* review for London Theatre](https://www.londontheatre.co.uk/reviews/groundhog-day-review-of-tim-minchins-new-musical-at-the-old-vic-theatre), our critic said: "Andy Karl pulls off the impressive feat of giving its inevitability a high-stakes tension. He's understandably bewildered by what's happening to him; then he throws caution to the wind and starts to enjoy the playfulness that he can have in knowing what's coming up; and finally, through eventual acceptance, to a beautiful understanding of himself. Andy Karl and the entire show are both spellbinding."

Andy Karl reprises the role of Phil Connors for *Groundhog Day* in 2023. The Broadway actor first played the role in 2016, and again for the Broadway transfer, picking up an Olivier Award and a Tony nomination for Best Actor in a Musical. 

### Who wrote the *Groundhog Day* musical?

Danny Rubin wrote the *Groundhog Day* musical. Some of the West End’s finest creatives reunite to collaborate on the *Groundhog Day* musical. Director Matthew Warchus and musician and lyricist Tim Minchin work together for the first time since *Matilda* — both musicals won Best Musical at the Olivier Awards. 

### What is the Groundhog Day tradition?

The “groundhog day” tradition hails from North America. Every 2 February, a groundhog is said to come out of its hibernation to one of two results. If the groundhog does not see its shadow, then spring is said to begin. If the animal sees its shadow, the groundhog returns to its hole — superstition says this ushers six more weeks of wintry weather. However, if you’re living a “groundhog day,” this means you’re living repeated days in the same way.

Tickets to *Groundhog Day* are available now. Book your *Groundhog Day* tickets on London Theatre today.


Groundhog Day - LON - London Theatre

Book theatre tickets for Groundhog Day in London. Choose your seats and find the best availability on LondonTheatre.co.uk.

Groundhog Day Tickets | London Theatre

When Pittsburgh TV weatherman Phil Connors is sent on a country mission, he's caught on a time loop. Will he manage to break free? Andy Karl reprises his Olivier-winning performance in *Groundhog Day* at the Old Vic. Get *Groundhog Day* tickets on London Theatre.

*Groundhog Day* reunites two theatrical geniuses: director Matthew Warchus and musician and lyricist Tim Minchin. They previously created *Matilda the Musical* for the Royal Shakespeare Company — both *Matilda* and *Groundhog Day* took home Oliviers for Best New Musical. They’re joined by a fine creative team, including set and costume designer Rob Howell, lighting designer Hugh Vanstone, and sound designer Simon Baker.

In order to bring the film to life, *Groundhog Day* needs a zingy, witty script. Thankfully, the film’s screenwriter, Danny Rubin, returns to create an entertaining musical story. The original film is preserved in the National Film Registry, and its storyline is utilised as a religious fable. Let's hope the West End musical is similarly preserved in the hearts and minds of theatregoers.

## What to Watch For: 

- Andy Karl will play weatherman Phil Connors. He originated the role at the Old Vic in 2016, and later played Phil in *Groundhog Day* on Broadway. Karl won an Olivier Award for Best Actor in a Musical, and earned a Tony Award nomination for Best Actor.
- The first “Groundhog Day” celebration of its kind took place at Gobbler’s Knob in Punxsutawney, Pennsylvania, on 2 Feb. 1887. Every 2 February, if a groundhog does not see its shadow, then spring can begin. If the animal sees its shadow, the groundhog returns to its hole — superstition then says this ushers six weeks of winter. The annual event is now a three-day long festival. 
- The tradition is based on Candlemas, an ancient Christian tradition dating back to the 4th century, in which religious leaders celebrated the light after winter

Groundhog Day - LON - TodayTix

Get the best prices on theatre tickets for Groundhog Day on TodayTix. The five-star Olivier Award-winning musical returns to The Old Vic.

Groundhog Day Tickets | London | TodayTix

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Buy tickets for Groundhog Day at the Old Vic in London. Find official theatre tickets to Musicals with Box Office.

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Groundhog Day - LT - 1200

Born in Baltimore, United States, in 1973, Andy Karl is an Olivier Award-winning actor. In the United Kingdom, he’s best known for playing weatherman Phil Connors in *Groundhog Day*. Like the film, history will repeat itself, as Karl plays Phil in *Groundhog Day* at the Old Vic in 2023.

After graduating from Towson University with a degree in voice and music, Karl made his stage debut as the Rum Tum Tugger in a US tour of *Cats*. He then made his New York debut in Stephen Sondheim’s *Saturday Night* at Second Stage Theatre in 2000, alongside Lauren Ward and Christopher Debut. 

That same year, Karl made his Broadway debut as Joey in *Saturday Night Fever* at the Minskoff Theatre. His Broadway career continued: David Fonda in *The Wedding Singer*, Chad and Kyle in *Legally Blonde,* Joe in *9 to 5*, Fiyero in *Wicked,* Tommy DeVito in *Jersey Boys* and Neville Landless in *The Mystery of Edwin Drood.*

In 2014, Karl played his first lead role in a Broadway musical, taking on boxer Rocky Balboa in *Rocky* at the Winter Garden Theatre. [Read reviews of *Rocky* on New York Theatre Guide.](https://www.newyorktheatreguide.com/reviews/rocky). For *Rocky*, Karl received a Tony Award nomination for Best Actor in a Musical. 

A year later, he was then cast as Bruce Granit in *On The Twentieth Century* earning a second Tony nomination. In a [five-star review on New York Theatre Guide](https://www.newyorktheatreguide.com/reviews/on-the-twentieth-century), a critic said: "this is a musical of extraordinary proportions. It is as fine a production as you will find anywhere. And if musicals are your preferred theatrical flavor, you will be in h-e-a-v-e-n."

Recently, he originated the role of Edward Lewis, as portrayed in the film by Richard Gere, in *Pretty Woman: The Musical* at the Nederlander Theatre. He starred opposite [Samantha Barks](https://www.londontheatre.co.uk/stars-on-stage/samantha-barks) in the Broadway musical.

In 2016, Karl made his West End debut as Phil Connors in *Groundhog Day*, eventually winning the Olivier Award for Best Actor in a Musical. Following the London run, he starred in the Broadway transfer, and received his third Tony Award nomination. In 2023, Karl reprises the role for the Old Vic. 


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