When the British theatre director Matthew Warchus called one day to ask whether I’d ever considered Groundhog Day as a musical I had to smile. By that point I already had an outline, a rough draft of the book, about 30 song ideas I had winnowed down to 12, and a ream of scenes, themes, bits, gags, progressions, dialogue snippets and even some melodies. But as someone from outside of the theatre community I had no idea how to find a partner.

“Ever heard of Tim Minchin?” asked Matthew.

From the moment the three of us met things simply took off. We started talking, pitching, sharing, jumping to the piano or guitar, skyping, singing and laughing. I’ve never had a more satisfying creative collaboration. This musical Groundhog Day, I am proud to say, honors the movie and all of the people who made that great, and surprising, and relatable. In a musical we can go deeper into the emotions, but like the movie, just when you think you know where it is going, it will surprise you. Surprise and, I hope, delight.

- Danny Rubin, Book

Danny Rubin Book

Danny is an award-winning screenwriter and lecturer. His screen credits include Hear No Evil, S.F.W. and Groundhog Day, for which he received the BAFTA for Best Screenplay and the Critics’ Circle Award for Screenwriter of the Year, as well as honors from the Writers Guild of America and the American Film Institute. Rubin has taught screenwriting in Chicago at the University of Illinois, Columbia College and the National High School Institute; at the Sundance Institute in Utah; the PAL Screenwriting Lab in England; the Chautauqua Institution in New York; at the College of Santa Fe in New Mexico; and at Harvard University as the Briggs-Copeland Lecturer on Screenwriting from 2008-2013.