Broadway is on the brink of a transformation that seems to prioritize familiarity over innovation, catering to the devoted followers of pop culture.

Rumors on social media platforms about upcoming stage productions once seemed like April Fool’s pranks, but now they often prophetically predict shows that stem from childhood fantasies.

Everything from blockbuster movies to beloved pastimes are being adapted for the stage - still waiting for Casper to make an appearance - and a sense of predictability continues to loom. The concern with the trend of screen-to-stage adaptations is that they fail to offer anything new.

Substance is sacrificed for sensationalism, demonstrating that even the most esteemed art forms have a price. However, there is a silver lining: Bringing existing characters to life isn’t always a mistake.

This is where “Groundhog Day: The Musical” comes into play.

It’s an experiment in translating Bill Murray’s unexpected cult classic movie, “Groundhog Day” (1993), into thespian language, and it succeeds enough to justify its existence.

For a show of its kind to work, one that relies on repetitiveness and Tim Minchin’s deceivingly dense score, you simply need an actor that bleeds aura.

Jarrod Yuskauskas, introduced as the strangely likable protagonist dressed in narcissism, is that performer to bring Phil Connors to fruition.

Stuck in an existential time loop, audiences are living through the myth of Punxsutawney Phil over and over again, all told through Yuskauskas’s unrelenting narration.

There is an instant familiarity that he possesses as the show’s leading man with faultless energy; he is an example of what it means to make the most of character choice and vocal expertise.

Yuskauskas lives in baritone Heaven, and though the show never leaves a moment of memorable melody, he sure will leave you with the impression that he knows how to navigate a catalogue of complex lyrics.

Mariel Letouneau, portraying Rita Hanson, Phil’s love interest, brings similar gravitas to her stage presence. Unaffected by Connors’s superficial charm, Rita grounds the ongoing delusion throughout the production, as if she unknowingly narrates from outside the time loop.

By the play’s conclusion, especially during their quiet duet, “Seeing You,” the undeniable chemistry between Letouneau and Yuskauskas becomes evident on the Civic stage. If we were to be trapped in a play with any two leading actors, we would consider ourselves incredibly fortunate with Lehigh Valley’s top talent.

Director William Sanders, a master at assembling ensemble productions of this caliber, is why theater serves as a developmental tool for nurturing great talent. This production is rich with it.

Veronica Bocian stands out with her flawless rendition of “Playing Nancy.” On a smaller scale, Sanders also creates unforgettable moments for recurring ensemble members. Paul Reed, Moriah Faith, Richie Warmkessel, Rose Fortkamp and the entire cast remind us that background actors possess as much presence as those in the spotlight.

Yuskauskas may be at the helm, but the production’s charm, embraced by the townsfolk, is largely responsible for its success.

In conclusion, “Groundhog Day: The Musical” is an exception to the trend of adapted works detracting from musical theater. It may not be worth multiple visits, but for a first-time experience, it’s worth being stuck in for two hours.

“Groundhog Day,” 7:30 p.m. May 9, 10, 15, 16; 2 p.m., 7:30 p.m. May 17; 2 p.m. May 18, Civic Theatre of Allentown, 527 N. 19th St., Allentown. 610-433-8903, https://civictheatre.com/