THE WHO’S TOMMY

Review by Celia Ipiotis

The release in the 1960’s of Tommy the double album rock opera by The Who holds a revered place in rock ‘n roll history.

First a trailblazing album, next a ballet by Les Grands Ballets Canadiens,  then a film and finally a Boadway production, Tommy has proven its artistic and commercial staying power.

Now back on Broadway after 30 years, the music still cranks but the original gritty crispness is muted . Despite the frenetic action on stage, primarily a result of Lorin Latarro’s choreography, the lechery, and darkness appear less threatening, more innocent.

That said, there are some fine performances particularly by Tommy’s mother, Mrs. Walker (Alison Luff) who belts out songs coated in emotion like the wistful “Its a Boy” and  “Smash the Mirror.”  Diligently blank, young Tommy (Olive Ross Kline) holds the stage until older Tommy, a newcomer Ali Louis Bourzgui, assumes the iconic role and soars in the  lament “See Me, Feel Me.” An all around good cast includes the snarly bully, Cousin Kevin (Bobby Conte), who hovers threateningly over Tommy. Another standout ensemble member, Mark Mitrano proved a cracker jack dancer and singer.

Pete Townshend’s music and lyrics are shaped by a book he wrote along with Des McAnuff that elevate the story of a traumatized boy who transforms into a Pinball Wizard, ultimately emerging from the bonds of his self-imposed terror.

Projections that switch from black-and-white to color, by Peter Nigrini, narrate much of the story. We see visuals of men going off to war in the opening days of World War II and  Mrs. Walker’s husband, Captain Walker (Adam Jacobs) leaving his pregnant wife for the front.

Referencing the Nazi and fascist forces at work in Europe, phalanxes of dancers goose step across the stage, rigid legs and arms jutting up and down in unison. Thematically, this choreographic statement later converts into spiky torsos popping forward and back–electric boogie style. Tommy’s identifying moves include a torso jerking towards and away from the pinball machine plus some backward slides. At one point, Tommy holds two straps and flies into the rafters, much like an aerial circus artist. But why inject a trick that stops the action?

There are occasions when the choreography excites, allowing dancers to move in counterpoint to each other spinning, jumping and draping themselves into one another’s arms or when the Lindy breaks out and the ensemble in black and white outfits by Sarafina Bush, lean back and strut–Cakewalk style.

The band still rocks, uplifting the action, but the audio settings frequently turn the stellar music mushy. Regardless of the production issues, there’s no issue with the artistry of the soundtrack, the songs, and the flashes of future talent.

Not surprisingly, the audience stands at the very end, clapping in rhythm while the cast departs the stage leaving only the music–that glorious music.

EYE ON THE ARTS, NY — Celia Ipiotis