groundhog wars


Musicals Asks 2017 Tony Awards Edition
  • Dear Evan Hansen: Ever broken a bone/had surgery?
  • Come From Away: What's your nationality?
  • Groundhog Day: Favorite superstitions/conspiracy theories?
  • The Great Comet of 1812: Three traits that describe you.
  • Falsettos: Any siblings?
  • Hello, Dolly!: Relationship status?
  • Miss Saigon: Favorite place you've traveled?
  • War Paint: Favorite color?
  • Anastasia: Cool memory from childhood?
  • Bandstand: Favorite genre of music?
Tony’s 2017 Thoughts

Let me put it this way: Yes, I have my preferences when it comes to the Tonys this year. I have my predictions. There are some performers that I feel should win over others. There are some performers/artists that I feel were robbed of their nominations. There are categories where literally all of the nominees I’m 100% torn on who should win because they are all EXTREMELY talented, gifted, hard working performers that deserve the literally sun for all their dedication to their roles. There will be moments tomorrow where someone will win and it will be bittersweet because one of my favorites won, yet one of my favorites did not.

So I’m saying right here and now, it doesn’t matter who gets to make the speeches tomorrow night. It doesn’t matter who gets to take home a trophy to sit on their mantle.

What matters is the fanbase behind that person or show and how much support and love the fans give them. What matters is that these people are continually fueling our dreams as theatre kids, theatre goers, and supporters of the arts.

Don’t turn the Tonys into a civil war amongst shows OR people. The arts is a collective expression of creativity. One person would not be winning an award without a multitude of people and fans behind them to support their efforts. The arts should not be so competitive that one show’s fans are angry at another show’s fans because “they got the fancy little trophy that so-and-so deserved.”

Don’t turn theatre into a battlefield this year. Keep the Tony’s fun for those of us who just want to dream of one day walking across that stage ourselves and accepting that spinny little trophy.

theconsultingdramaqueen  asked:

Ok ok but now I'm dying for Obi-Wan's Groundhog Day, 'cause there'd be so much Sad but also shenanigans? Of course he'd try to help Anakin The Jedi Way at first, but that's already failed and he still doesn't know exactly how Palps got to him. Soon the day becomes a Quest to really understand Anakin the way he couldn't during the war, and without fear of fucking up the Chosen One, he's free to use some...unorthodox tactics. Hilarity ensues. Anakin is confused but more likely to just go with it.

Ahhhhh OMG I can’t believe this didn’t occur to me before. Obi-Wan’s Groundhog Day would ALSO be fantastic (and, just a guess, he might not need QUITE as many re-dos as Anakin to get it right, hahaha.) And while hilarious, it could totally also end up being Moving and Sweet and Full of Feels because, as you say, he’d realize eventually that in order to figure out WHY it all fell apart, he has to really get into Anakin’s occasionally doofus-y brain. And then they both end up understanding each other better and everything is sweet and adorable and everyone lives Happily Ever After. 

I feel like Anakin’s going to be so disoriented during some repetitions of this day, though, because like…he’s GLAD Obi-Wan wants to spend all this time with him all of a sudden, but it’s also kind of weird that he showed up the second Anakin woke up this morning and he hasn’t left his side all day? (Oh, the FACE Palpatine makes when Anakin shows up at the opera WITH Obi-Wan, who has INSISTED on coming along and refused to take no for an answer. Not only has Skywalker shown up with That Boyfriend Palpatine Hates, but Obi-Wan also keeps shushing him every time he tries to start talking to/brainwashing Anakin. Anakin just shrugs helplessly: “He really is a big fan of the opera, Excellency.”) 

Obi-Wan 10000% spends at least one day drunkenly telling everyone at the Temple what he really thinks of all of them. One day where he gives in to all of his most flirtatious tendencies and runs off romancing his way across the Galaxy and/or dramatically sweeps Anakin off his feet. And another day handing Maul his own ass with the Darksaber over on Mandalore. Most of the rest of the time he’s dutifully trying to fix the universe, but even Obi-Wan needs a day to indulge once in a while. 


The most important thing you’ve seen all week, Laura Benanti describes this season’s musicals

Tony Nominations for Musicals, 2017

Best Musical
Come From Away
Dear Evan Hansen
Groundhog Day
Natasha, Pierre & The Great Comet of 1812

Best Musical Revival
Hello, Dolly!
Miss Saigon

Best Leading Actor in a Musical
Christian Borle, Falsettos
Josh Groban, Natasha, Pierre & The Great Comet of 1812
David Hyde Pierce, Hello, Dolly!
Andy Karl, Groundhog Day
Ben Platt, Dear Evan Hansen

Best Leading Actress in a Musical
Denée Benton, Natasha, Pierre & The Great Comet of 1812
Christine Ebersole, War Paint
Patti LuPone, War Paint
Bette Midler, Hello, Dolly!
Eva Noblezada, Miss Saigon

Best Featured Actor in a Musical
Gavin Creel, Hello Dolly!
Mike Faist, Dear Evan Hansen
Andrew Rannells, Falsettos
Lucas Steel, Natasha, Pierre & the Great Comet of 1812
Brandon Uranowitz, Falsettos

Best Featured Actress in a Musical
Kate Baldwin, Hello Dolly!
Rachel Bay Jones, Dear Evan Hansen
Stephanie J. Block, Falsettos
Jenn Colella, Come From Away
Mary Beth Peil, Anastasia

Best Book of a Musical
Come From Away, David Hein and Irene Sankoff
Dear Evan Hansen, Steven Levenson
Groundhog Day, Danny Rubin
Natasha, Pierre & The Great Comet of 1812, Dave Malloy

Best Original Score
Come From Away, David Hein and Irene Sankoff
Dear Evan Hansen, Benj Pasek and Justin Paul
Groundhog Day, Tim Minchin
Natasha, Pierre & The Great Comet of 1812, Dave Malloy

Best Direction of a Musical
Christopher Ashley, Come From Away
Michael Greif, Dear Evan Hansen
Jerry Zaks, Hello, Dolly!
Rachel Chavkin, Natasha, Pierre & the Great Comet of 1812
Matthew Warchus, Groundhog Day

Best Choreography
Andy Blankenbuehler, Bandstand
Peter Darling and Ellen Kane, Groundhog Day
Kelly Devine, Come From Away
Denis Jones, Holiday Inn
Sam Pinkleton, Natasha, Pierre & The Great Comet of 1812 

Best Costume Design of a Musical
Linda Cho, Anastasia
Santo Loquasto,  Hello Dolly!
Paloma Young,  Natasha, Pierre & the Great Comet of 1812 
Catherine Zuber, War Paint

Best Lighting Design of a Musical
Howell Binkley, Come From Away
Bradley King,  Natasha, Pierre & the Great Comet of 1812
Natasha Katz, Hello Dolly!
Japhy Weideman, Dear Evan Hansen

Best Scenic Design of a Musical
Rob Howell, Groundhog Day
David Korins, War Paint
Mimi Lien, Natasha, Pierre & The Great Comet of 1812
Santo Loquasto, Hello, Dolly!

Best Orchestrations
Bill Elliott and Greg Anthony Rassen, Bandstand
Larry Hochman, Hello, Dolly!
Alex Lacamoire, Dear Evan Hansen
Dave Malloy, Natasha, Pierre & The Great Comet of 1812 

Thoughts on Tony Awards 2017

Primarily focused on Musical Theater….

I’m sad that “Great Comet” didn’t get more, to be honest. Purely from a technical perspective, this show was a marvel. So I would have loved to see Best Orchestrations, Best Costumes, and Best Director. Rachel Chavkin took a story that seemed nearly impossible to make and made it relatable and fulfilling. It’s really weird, but in an soaring way- and I hope that more shows have the nerve that this show has. It was the only show I saw this season, and it was a ridiculously unique theatrical experience. It’s also a shame the telecast didn’t highlight Deneé Benton’s voice. What an amazing gift. And her performance of Natasha- at once naive and innocent but also dangerous and flirtatious- was a surprisingly fantastic female character full of “life and mischief.” We need more like them, and more shows that place them at the front.

Dear Evan Hansen. I get it; at times it highlights the worst tendencies of young adult novels. It’s frustrating. Poorly plotted moments, like “To Break In a Glove” (which basically screams, “It’s a metaphor!!!”), to Alana’s broad racial characterization (her blackness seems to inform her identity to the point of stereotype), dim the moments of pure joy and despair into cliché. But what a carefully understood story otherwise. The startling emotional intelligence of the show’s lyrics by Pasek and Paul shine through the most. Forget all the social commentary of social media and social anxiety and depression. This is a story about one person, and that one person was completely brought to life. That this show resonates with audiences is no surprise- it is deeply empathetic to the point of pushing you completely down, but always pushing forward.

I’ll admit to not having listened to / read the other musicals. I’m immediately skeptical of Come From Away; whole-hearted goodness in the face of tragedy is certainly a fine message, but its celebration of Canada and a specific group of people seem to be the message it really wants to send. There’s nothing really wrong about this- it just seems more like an advertisement than a show. “Me and the Sky” is a lovely song, but do I need a sustained, winking “American Airlines” in the middle of the song? The show’s broad commercialism, in the face of 9/11, seems to work as a message of hope. And then at moments like this, it feels trivial.

Edit: From some of the comments here, Come From Away is apparently a really special, communal experience that isn’t really quite captured in the recording or promos. Which I have to say, is probably true. As someone who hasn’t seen that show, I’m not judging the show, just the concept and what I’ve seen at the Tonys. Of course I would die to have a ticket- who wouldn’t? If you want to share your experience with this show, and prove my original skepticism wrong, please message me or comment. Let’s start a dialogue! 

I’m sure Groundhog Day was a fine musical, but like “Matilda,” I’m sure it did a great job of bringing the story and bringing out the strengths to the stage while also not being absolutely astonishing. Groundhog Day is one of the perfect mergings of concept and execution in film, so I’m happy they found a way for it to work on the stage. The choice for the telecast was a less energized than lovely. Probably a direction the whole show wants to follow- and this is one that understands its boundaries and I can respect.

Assorted notes on the rest:

  • It’s absolutely ludicrous that “Sweat” is Lynn Nottage’s debut on Broadway. A two-time Pulitzer-prize winner just now on Broadway? It shows the conservatism of producing works by black and female artists.
  • “Penny in my Pocket” from “Hello Dolly” was a fine song. But to have Bette Midler walk around stage all night taunting us of her lack of performance was really just upsetting. Mostly to the chorus members of that show; they deserve a time to shine.
  • Miss Saigon.” You lumbering beast of a musical. I am so happy to see Asians on the stage of the world. But there has to be more than this for us. There has to be more, and it’s up to Asian writers like me to make sure that not every Asian woman has to play a prostitute to be on Broadway.
  • The staging of “Waving Through a Window” I found at once fascinating but also a little… obvious? It seemed to say to the audience, “This is a show about social media!” instead of having them just listen to the lyrics and actually understand the acute longing of Evan. But overall I’m totally down for Michael Grief’s direction. He seems like someone very aware of the message of his shows, and that’s a wonderful thing to see.
  • I would absolutely love to see every single Best Play nominee. They all look like achievements in the art form.
  • Falsettos” was a nice reunion, although it was frustrating that the only lesbian kiss on national television was for “Great Comet” and not this or “Indecent.” Thank God Christian Borle wore a wig. Those 80s outfits were killing it. Thanks PBS for taking care of the community with the theatrical release.
  • War Paint? Meh. Clearly a star vehicle, but with the distinctly modern blend of music seen in the Best Musical nominees, this one seems to be harkening on a musical theater style that is dated. We’re living in the era of “Fun Home” and “Hamilton.” The entire genre is shifting.
  • Why was the one black character of Bandstand an announcer with one line? Aren’t we past this? And from a creative from Hamilton no less?
  • Kevin Spacey was fine as a host. The knowing meta thing wore off way too quickly, but I do appreciate the focus on all the nominees instead of the Something-Rotten-musical-mishmash of last year’s opening number.
  • I sincerely hope the Great Comet stays on Broadway for a few years. It’s truly an unparalleled show in terms of its fearlessness in just going to its concept. I think that even if you don’t like the music, or think it achieved something meaningful, you can at least admire its creative ambition.
  • Thanks to @zartharn for watching with me! “And the Tony goes to… Michael Arden’s revival of Spring Awakening!”

So many shows, performers and creatives were robbed last night, but I hope that they all know that they are winners in my heart

tockae  asked:

Groundhog!life!obi-wan, as in, every time he dies he wakes up again, back when it all started, when he came to the order as a little child.

Well.  Let’s see what I can come up with.  Obi-Wan can hardly have to try more than once or twice, right?


The first life was the worst, and the best.  It was the worst because he wasn’t prepared, he lost everything, and his brother, his student had been the one to take it from him.

And it was the best, because he didn’t know what would happen.  Because his student turned back, in the end.

And they had reunited in the Force.

He was.

That wasn’t right.  He was, and he shouldn’t be.  He had lived his life- and beyond.  He had watched, as his world was destroyed, and everything was lost.  And then he’d watched as one boy had brought everything back. 

He opened his mouth to ask what was going on, but all that came out was a cry.

“Oh, dear,” someone said.  He realized, suddenly, that he was being held.  He tried to wiggle away, but…

he could barely move.

It took him an embarrassingly long time to realize that he was a baby, in someone’s arms.  A Jedi’s arms. 

His second life was horrible.  He’d tried to tell someone, but he wasn’t believed, and then…

Sidious’ Master had found him, when he was thirteen and no one took him as a Padawan.  (Who would want a Padawan that said the Order was in danger?)

He never turned, resisting Plagueis for nearly three years before the Sith got impatient and killed him.

He was.

This time, Obi-Wan didn’t tell anyone.  He grew sneaky, and quiet.  He didn’t rock the boat, and he refused to rise to anyone’s taunting.

He was chosen by a young Knight when he was eleven.

He died in the Temple, facing the man he loved like a brother, who had never actually met him.

He was. 

This time, he ran away from the Temple when he was twelve and hadn’t been chosen.  He ran straight to Naboo, where he watched as Sidious trained Maul in secret. And he planned.

Three weeks after he found them, he announced himself by stealing Maul’s lightsaber, and stabbing him in the back with it.

Sidious was, to say the least, displeased.  But he took Obi-Wan at his word, and took him as a replacement apprentice.  Obi-Wan wasn’t going to let the Sith win, and if he had to sabotage them from the inside, then so be it.

He died after killing Sidious, two weeks shy of his twentieth birthday.  But he never saw Plagueis.

He was.

He was.

He was.

He was.

He was.

Obi-Wan was physically one when he took a deep breath and started to think.  It wasn’t easy.  He had the brain of a baby, but the memories of a much older man.

He was repeating his life for a reason, and he hoped it was to stop the rise of the Sith.  He would have to be smart about it.  He’d have to find a way to show Qui-Gon that they would be a good team. He’d have to manufacture some reason to land on Tatooine, after Anakin was born, of course, with enough non-Republic currency to free both Anakin and his mother. 

He’d have to drop hints, subtle ones, to implicate both Palpatine and Hugo Damask.  Maul, too, but he had never had a public persona like the Sith Masters.

He was nearly two when he realized he could change things before he was a Padawan.  A Padawan was assigned to his Clan as a punishment duty, and Obi-Wan nearly froze as he recognized him.  Xanatos. His…  Obi-Wan’s eyes lit up as he realized something he could do.

He ran toward the Padawan and latched on to his boot with a squeal.

Xanatos did not look happy, but to his credit he merely knelt down and tried to pry Obi-Wan’s hands loose.  “Youngling, you shouldn’t…”

“Yes I should!” Obi-Wan lisped.  “We’re brothers!”

So, he was going to establish that he had some prescience right now.

“I… what?”

Obi-Wan tilted his head.  “Well… not yet.  But we will be.” he said firmly.  “You’re my brother, because Master will say so.”

Xanatos stilled.  “Little one?  How old are you?”

“Two!” Obi-Wan chirped.

Xanatos hummed in thought.  “Would you like to meet my Master?”

Obi-Wan nodded eagerly.

Of course he did.  He hadn’t actually seen Master Qui-Gon in far too long.  And maybe this time, he could help his Master.


Obi-Wan spent two years getting to know Xanatos, and trying to bond with his “brother Padawan”.  He knew the time for the Telos mission was soon, and he just hoped it would work out.

“Obi!” Xanatos called as he came into the crèche.

“XAN!” Obi-Wan ran forward.  He was enjoying being a child again, this time.

“I’m not going to be able to see you for a little while, squirt,” Xanatos said, once they had settled in front of a craft table, Obi-Wan showing off his work on a… something.  Even Obi-Wan wasn’t sure what it was.

“You’re going on a mission?” Obi-Wan asked. “Where?”

“We’re actually going to my home planet,” Xanatos said.

Obi-Wan froze for a moment before turning to look at Xanatos.  “You’re going to come back, right?” he asked, allowing his lips to quiver.  “You’re not going to…” he trailed off.

“Squirt?” Xanatos asked.  Obi-Wan rarely acted like this, but when he did, Jedi listened. His “prescience” had never been wrong.

“Promise me you’ll come back?” Obi-Wan asked.

“What did you see, Obi-Wan?”

Obi-Wan shook his head and gave Xanatos a hug. “Promise me?”

Xanatos sighed, jostling Obi-Wan.  “I promise, Squirt.  Is there anything I should be careful about?”

Obi-Wan frowned.  “Don’t trust the governor, Xanatos.  He wants Darkness.”

Xanatos stiffened, but nodded.  “Ok, Squirt.  I’ll be careful.”

Obi-Wan smiled brilliantly at him. 


Obi-Wan wasn’t supposed to be in the hanger, but he had to know if his warning had been enough.  He liked Xanatos, when he wasn’t Dark, and he didn’t want to lose him too.

Qui-Gon was the first out of the shuttle, and he looked…

Obi-Wan bit his lip.  Had he failed? 

Xanatos left the ship.  Obi-Wan ran forward.  “XAN!!!” He yelled.  Xanatos stumbled back as Obi-Wan slammed into him.  “You came back.”  To his shock, he was crying.  “You came back.”


Padawan Kenobi was scowling down at the Nav Computer. “Master,” he called out.

“Yes, Padawan?” Qui-Gon Jinn asked.

“We need to land,” he said, sounding disgusted. “That dustball should have the parts we need to fix the Nav Computer.”

Qui-Gon nodded.  “I’m sure you did your best, Padawan,” he said.  “And yes, I sense we’ll find what we need down there.”


Obi-Wan watched the news as Palpatine was arrested. His carefully planted evidence had been found and Both Sidious and Plagueis had been arrested.

He was sure they’d try to escape justice, but soon, the evidence of Dark Side use would show up, and the Council would take notice.

Soon.  The Sith would be destroyed, and not a moment too soon.

He grinned down at his Padawan.  Anakin was engrossed in a puzzle, and didn’t notice.


Obi-Wan faded into the Force after a long, good life. He could only hope he wouldn’t have to try again

He was one with the Force.


… I hope you like this.