A Brief Production History:
Back on Broadway just over thirty years later this rock musical was inspired by the English rock band: The Who's rock opera of the same name, released in 1969. Originally premiering on Broadway in 1993 at the St James Theatre, following a successful run at La Jolla Playhouse in San Diego in 1992, The Who's Tommy has a history of strong commercial success. With numerous runs in some of the most well-known professional theatres across the country, including the Denver Center, The Kennedy Center, and more, The Who's Tommy is no stranger to the spotlight. During the production's original run, they played over 800 performances in one of the largest Broadway houses, one that in recent years has been met with limited runs and many shows that were cut much too short. Now a revival under the same direction as the original, Dez McAnuff, The Who's Tommy is back and just as passionate as before only this time in the Nederlander Theatre with a different approach.
What is it about?
The plot remains largely the same as the original 1993 run; however, to those fans of the album, it is vital to note there are some small-scale adjustments to the plot concerning the album, film, and stage adaptations.
The show begins as Tommy's father, Captain Walker, is sent off to war before Tommy's birth and is found to be missing in action. His mother, following Tommy's birth and learning of this information, moves forward in another relationship, only for Captain Walker to return four years later much as a surprise to his wife and her newfound love. Captain Walker shoots the boyfriend as young Tommy watches through a large glass mirror, helpless. This leads to the main conflict and plot points of the show as Tommy is rendered, deaf, blind, and mute. His parents tell him repetitively "You didn’t see it, you didn’t hear it, you won’t say nothing to no one ever in your life" Tommy remains unresponsive after his father is found not guilty and left with a variety of questionable individuals over the course of his childhood including an aloof cousin, teenage delinquent bullies, and even a drug-addicted woman. Medical test after medical test provides no concrete evidence as to what is causing Tommy's unresponsive state. He has "nothing to say and nothing to hear, and nothing to see".
Eventually, we learn that he is an exceptional pinball player as one of the bullies he was previously left with: Kevin, portrayed by Bobby Conte, takes him to an arcade. Nothing short of a sensation, which the family and even he are quick to capitalize upon, relishing in the fame and fortune. His parents, continue to struggle and push to find a cure, but eventually fall to a realization that it may never be possible. As they speak passionately and angrily in front of him, Tommy stares into the mirror and they begin to fight, tired of the endless seemingly uphill battle. In a fit of rage Mrs Walker, played by Alison Luff, shatters the mirror. Following the shattering of the mirror, Tommy suddenly becomes fully lucid. His regaining of consciousness sparks an increase in his growing popularity and he is placed upon a pedestal that he is unable to fathom the significance of, eventually leading to him becoming a sort of spiritual leader to a large group of people. Eventually, the followers leave when Tommy is unable to provide them with the sort of salvation they desire and he is reunited with his family.
While all of this unfolds before us, we are given narration by an adult Tommy, played by Ali Louis Bourzgui, and end up seeing a total of three incarnations of Tommy, each at a different point in his life. A young 4-year-old Tommy, portrayed by Olive Ross-Kline and alternating with Cecilia Ann Popp, a 10-year-old Tommy portrayed by Quinten Kusheba alternating with Reese Levine, and finally the adult Tommy who serves as our main point of contact.
What did you think?
This show is at its' core, about a kid who is abused and traumatized to the point of a breakdown, then followed by his redemption arc in which he regains his senses through coping with a game of pinball. It then moves into a more spiritual and surreal realm where we look at the ideas of a leader, mass media, and ethical questioning surrounding a messiah of sorts. We tackle the idea of the illusionary self and what it means to become so locked into your fears that you lose this idea of self while still feeling everything and everyone around you. According to Townshend:
"When you lose all contact with your illusory state, you become totally dead – but totally aware"
This is exactly what we see with Tommy as he is absorbed into this cult-like sensation following an unexplainable trauma. Townshend elaborates on the album's meaning of self and furthermore, the meaning behind much of the show played out on stage:
"Tommy’s real self represents the aim – God – and the illusory self is the teacher; life, the way, the path and all this. The coming together of these are what make him aware. They make him see and hear and speak so he becomes a saint who everybody flocks to"
This ultimately is where I find the most meaning within this work. I without a doubt enjoyed the first act but the second act, where we see this unfold, speaks to me in a much larger sense. Townshend claims this album to be about how "we all have this self-imposed deaf, dumb, and blindness" and while he also explains it to not be the main focus it also explains why Tommy is celebrated as a messiah and as a representation of humanity.
A part of me couldn't help but feel uncomfortable at the constant repetition of that specific line "That deaf, dumb, and blind kid," especially as a neurodivergent person who was able to see parts of myself in this character. I spent a great deal of time mulling this over and ultimately can see where Townshend was coming from when writing the songs in the 1960s. Taking a look at the Tommy website one can find a statement from Townshend and McAnuff that reads as follows:
"From the early days of Tommy, Juliet Alvin from the Guildhall College of Music who began Music Therapy was consulted and felt strongly that Tommy was not neurodiverse but rather neurotypical. The condition that he descends into before he breaks through the surface of reality when his mother smashes the mirror can be described as Conversion Disorder. There is no underlying neurologic condition for Conversion Disorder, which is sometimes called Functional Neurologic Disorder. This condition is rare, but it certainly occurs in extreme cases of trauma with neurotypical children, and for that matter, adults."
This line, original to the album and more specifically about spirituality than intelligence in a general sense, has an entirely different conversation attached to it, especially when we look at the modern language around disability. So much language surrounding disability and bullying is utilized in this musical, without any upfront conversation on how that language has inherently ebbed and flowed in the evolution of our discussions on disability and even spirituality. While I truly don't believe the intention to be malicious or even related at its core, I still feel it is something to be addressed in these spaces.
This is not to say by any means that this production is ill-intended or harmful but rather a point of discussion for future audiences as to what we can do with language in older works to adapt them to our current state of affairs while retaining both directorial and writer's intention.
This show has become a classic among theatre fans and a lovely homage to the Who's iconic album. Fans of the album, many of whom sat around me, seemed to bask in the familiarity of the music and feel great excitement in the nuance of the new staging and presentation. This energy and admiration for this band and show were contagious, I could feel the electric buzz from the moment we entered the space, and for what it is worth, this show is doing the absolute most. The talented artists within this space are passionate about their craft and it's undeniable, especially upon seeing the sheer magnitude of dance and musicality presented by this team. The show's history and impact are unquestionable, and it is clear beyond a doubt that this team put in the time and effort in an attempt to create a dynamic show for new audiences.
Sonically, this musical delivers. Gareth Owen delivers incredible sound design to complement Pete Townshed's music if it weren't for the overwhelming loudness of it all. This musical, or rather rock opera, as it is quick to bill, is nothing if not a whirlwind to the senses in every possible way. They do not shy away from presenting obscure lyrics and confusing antidotes at the loudest possible volume. The music is familiar, just as you would want it to be, and showcases a group of incredibly talented musicians. Even if you do not have any prior experience with The Who, you will likely leave the theatre checking them out on Spotify or even looking back to the first Broadway run's cast album.
Furthermore, this production has an incredibly entertaining ensemble. Contemporary and pantomime dance structures, choreographed by Lorin Lotarro, created a futuristic atmosphere, in which the dancers spun my attention directly toward them. Visually, like most other elements of this show, the audience is bombarded with stimuli, in a very area-show esc style of design. The set design, by none other than David Korins, is arguably the most "bare" of anything, even if it is still not bare by any means. The show relies heavily on the projections, designed by Peter Nigrini, as well as the very intense, and incredibly exciting lighting, designed by Amanda Zieve. It truly feels like a concert and I can safely say it was thrilling and definitely a hit with the groups surrounding me.
While this production's plot is the same as the previous Broadway run, my biggest quarl is that it is hard to follow. For me, and many other avid theatre-goers, it's likely you know the plot of The Who's Tommy; however, your friends may not. I find it to be unfair to ask the audience to know the source material or prior productions of a musical to enjoy a revival. And while I enjoyed this production, it bordered upon being just vague enough to leave one with an idea of the plot and utter confusion. The Who's Tommy is inherently a loose and semi-fluid musical without a direct explanation of many events unfolding on stage, but that is not to say we can not establish a clearer pathway to our end goal. With this said, ultimately the production is presented as a rock opera, and that it is. It is deeply probable that the average audience member is not attending as a result of a deep-rooted love of theatre but rather a sense of familiarity with the source material or an eye-catching subway ad.
At large, I am deeply glad a new age of theatergoers gets to enjoy and appreciate The Who's Tommy, and I hope they are able to find joy in the show that is overflowing with talented performers. This revival of Tommy is inherently very similar, albeit not visually, to the original, but it gives a chance for new audiences to experience the thrill and for an incredible company of artists to showcase their talents. Fans of The Who and classic rock music are sure to have an incredible time and are going to love this retelling of the beloved rock opera.
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