Set your alarm clocks: “Groundhog Day,” the musical, is coming to Broadway.

Based on the ’93 movie starring Bill Murray as a man forced to relive the same 24 hours over and over, the musical is being created by the team behind “Matilda”: Tim Minchin (score), Matthew Warchus (direction), Peter Darling (choreography) and Rob Howell (sets). Danny Rubin, who wrote the movie’s script with Harold Ramis, is doing the book.

Scott Rudin, along with Andre Ptaszynski and Sony Entertainment, is producing. This is Rudin’s first musical since “The Book of Mormon,” which, in its fifth year on Broadway, continues to gross more than $1 million a week.

Warchus staged a workshop a few weeks ago in London, planning to open there first. But the workshop went so well, the producers decided to head straight to Broadway. Previews are set to start Jan. 23, 2017, with a theater and cast yet to be determined.

“Danny, Tim and I have been working on the show for three years in an informal way,” Warchus tells me. “We didn’t even have the rights from Sony. By the time we had a first draft and seven songs, we decided we’d better get them.”

When “Groundhog Day” was released, it was considered a typical romantic comedy. Since then, the story of narcissistic weatherman Phil Connors was deemed significant enough to be added to the United States National Film Registry.

“I loved the film when it came out,” Warchus says. “And we realized that, in a musical, you can be more explicit about the metaphor of time running out, of feeling trapped, of not having enough time to become the best version of yourself. Sometimes we went a little too far in that direction and had to keep reminding ourselves to keep it light.”

Several writers have toyed with adapting “Groundhog Day” for the stage, notably Stephen Sondheim. When Minchin decided to give it a shot, he met with him. But just as Sondheim was about to tell him why he’d given up, Minchin stopped him.

“I didn’t want to know,” he says. “Can you imagine a composer like me, untrained, self-taught, hearing that Stephen Sondheim had this specific problem with his adaptation? As it was, it was hard because musicals are a f - - king pain in the ass, but it was interesting and it was fun.”

The first song Minchin wrote was for the top of the second act, when the weatherman attempts suicide. The song is called “Hope,” which should give you an idea of the show’s tone.

“I wrote that song to establish the parameters of just how dark we can go,” Minchin says. “And then I wrote the last song in the show, which is very gentle . . . So I had a bit of heart and a bit of pain and then I could go on to find the joy and the silliness and romance in the rest of it.”

One thing this musical about a man caught in a time loop won’t have: the same song, over and over.

“The music in a musical reflects the emotional state of the characters,” Minchin says. “The Phil Connors who wakes up on day two is not the same Phil Connors who woke up on day one. Once I realized that, it set me free to write a variety of songs.”