I never thought much about “Tommy”, although over time I did acquire the album itself, as well as the original cast album of its first Broadway production (which won a Tony award for Best Original Score in 1993). This afternoon I finally had the opportunity to see “Tommy” on stage, as the CSUN Theatre Arts Department was doing a production of the show.
I saw it. I heard it. I felt it. And I have excitement in my feet.
For those unfamiliar with the story, Tommy is the story of Tommy Walker. It begins with a musical prologue showing the meeting of his parents, and his fathers departure for the WWII front, including his capture and internment. Mrs. Walker takes a lover upon hearing that her husband didn’t return. When Tommy is four, his father returns finding his wife and her lover inflagrante, and shoots the lover while Tommy watches everything in a mirror. His parents tell Tommy that he heard nothing, saw nothing, and is to say nothing. Tommy withdraws into himself, and is for all intents and purposes deaf, dumb, and blind. As such, he is the target of molestation at the hands of his uncle and taunting and torture at the hands of his cousin. His only solace is pinball, and he is a pinball wizard. As such, he becomes popular and hero of the neighborhood lads. Back at home, all Tommy does is stare into the mirror. Desparately trying to reach him, his mother smashes the mirror, which frees Tommy. He leaves home, and the cure is considered miraculous. His uncle and cousin capitalize on his stardom, and Tommy gives in. When one fan rushes to the stage and gets beaten, he realizes the cost of his celebrity. He invites everyone to return home, and spreads the message that the true miracle is available to everyone: to see, hear, and feel other people, not withdraw inside themselves. Of course, the crowd doesn’t like this message, wanting instant salvation, and turns away from him. Tommy is left with his family, who embraces him.
Sounds like a story of today, doesn’t it?
For the most part, CSUN did an excellent job. The show was a true rock opera, being entirely sung through. Unlike other “rock” musicals, this didn’t take the typical music form with ballads, 11 o’clock numbers, and charm songs. It was all heavy rock. Not even shows such as Hair, Jesus Christ Superstar, or even Rent rock like this. There was strong singing and strong dancing. As much of the story was told by dance and pantomime, the acting was equally strong. The show, however, wasn’t perfect. There were numerous sound glitches (usually over, not undermicing), and some scenery just didn’t want to concentrate. The dialogue coach also needs to learn the difference between an Australian and an English accent. I felt like I was listening to Peter Allen in The Boy From Oz.
The principles in the cast were particularly strong: Tillie Spencer as Mrs. Walker; Milo Shearer as Captain Walker, and the individuals playing Tommy. The youngest of the latter (Age 5) was played by Emily Greaver. More impressive was Lindsey Sacks as the manipulator of the Tommy Age 10 — although she didn’t say a line, she reacted to the horror and you could just read it in her face. The older Tommy was Erik Roget who had a remarkably strong singing voice and dancing skills. Look for these folks to go far. I’ll note that both Tillie and Erik are in a recording group called Acasola.
Others in the cast included Nicole Bouffard (The Specialist, Tommy Girl), Sabrina Cavalletto (Kevin’s Mother, Mrs. Simpson), John Cervanka (Allied Soldier, Judge, Local Lad), Gloria Galvan (Nurse, Voice of 4 year old Tommy), Joseph Harper (Lover, News Vendor, Hawker), Elizabeth Jordan (Nurse, Voice of 10 year old Tommy), Brent LaBrada (Cousin Kevin), Danielle Morris (Minister’s Wife), Elaine Nuguid (Nurse), Justin Rabi (Uncle Ernie), Chavonne Rees (Nurse, Tommy Girl), Jon Rosell (Officer, Local Lad), Danny Ross (Local Lad, Security Guard), Chester Sakamoto (Officer, Local Lad), Richie Sarian (Allied Soldier, Barrister, Kevin’s Father, DJ), Jonnae Thompson (The Gypsy, The Acid Queen), Brittany Thornton (Sally Simpson), Justine Woodford (Specialist’s Assistant), Kohtaroh Zushi (Barrister, Local Lad, Security Guard), and Aaron Zwirn (Minister, Harmonica Player, Mr. Simpson).
The show was directed by Garry D. Lennon, with musical direction by David Aks. Choreography and assistant stage direction by Pippa Greene. Scenic design was by John H. Binkley. Costumes by Paula Higgins. Lighting by Mark Svastics, and sound design by Mike Ziegler.
“The Who’s Tommy” continues at CSUN until April 13.
As for what’s upcoming, it hasn’t changed much from this morning. Next week is the Southern California Renaissance Faire (on Saturday). April 19th brings Pesach, and the weekend after that (April 26-27) is the Orange Empire Train and Trolley Festival (I’ll be there Saturday). Theatre picks up again on 5/10 @ 8pm with “The Brain From Planet X” at Chance Theatre. 5/17 may bring, followed by “Pippin” at East West Players on Sun 5/10 @ 2pm (currently unticketed). 5/24 @ 8pm is “Of Mice and Men” at the Pasadena Playhouse, directed by former Pasadena Playhouse artistic director Paul Lazarus. 5/29, 5/30, and 5/31 brings “Grease” at Nobel Middle School. 6/7 @ 8pm is “The Full Monty” at REP East, with (hopefully) “Songs from an Unmade Bed” at the Celebration Theatre on 6/8 (unticketed). 6/28 @ 2pm should be “A Chorus Line” at The Ahmanson Theatre (pending exchange). 7/5 will hopefully be “A Very Brady Musical” at Theatre West (unticketed). 7/13 @ 1pm is “The Drowsy Chaperone” at the Ahmanson; 7/26 @ 8pm is “Looped” at the Pasadena Playhouse, and 8/2 @ 2pm is “Singing in the Rain” at Cabrillo Musical Theatre.
(Updated 2008-04-08 2:30pm)
