*** (out of 5)
Reviewed by James
Karas
As
the audience is settling down for the opening of Tommy, there is a blast
of music that is so powerful, it shook my stomach. The volume was turned down for
some parts of the rock opera but my stomach vibrated for an inordinate amount
of time during the performance.
Tommy,
of course, is the hugely successful musical by Pete Townshend (music, lyrics
and book) and Des McAnuff (book). McAnuff was the Artistic Director of the Stratford
Festival and last year his Jesus Christ Superstar was produced
there and later taken to Broadway.
The
volume at which much of the music and singing is done in Tommy is reminiscent of bars where people are supposed to drink,
talk and mingle but the music is so loud I cannot imagine how any communication
is possible.
The
production values of this staging are substantial.
Tommy has an
interesting and fascinating plot, far better than one would expect from a
musical. As a child, Tommy witnesses the murder of his mother’s lover by his
father. His father was presumed dead in World War II but returned. The boy
becomes blind and deaf but reacts and comes to life, in effect, when he starts
paying a pinball machine. He becomes nothing less than a heroic Pinball Wizard.
This
production gave me the feeling that I was inside a pinball machine. That means
that in addition to the often powerful and very loud music there are flashes of
light, a dizzying display of colours, changes of scene with incredible speed
and an astounding number of theatrical effects.
There
is liberal use of projections from airplanes and parachutists at the beginning
(Tommy’s father was in the air force) street scenes, interior and exterior
scenes throughout. The production is intended to and succeeds in overwhelming
the audience with its prodigious onslaught of music, colours, movement, dancing
and singing. The audience is barely and rarely given a chance to catch its
breath. That is what I mean by production values.
Credit
is due to the designers who deserve a bow and mention by name: John Arnone
(set), David C. Woolard (costumes), Howell Binkley (lighting), Andrew Keister
(sound), Sean Nieuwenhuis (projection).
Special
mention is deserved by Wayne Cilento for his choreography. Here is athletic
coordination, synchronized movement and creation of energy that is simply
outstanding.
The
strong cast which frequently sings at the top of their lungs is headed by
Robert Markus as Tommy. He sings and acts well. Kira Guloien and Jeremy Kushnier are very good as his
parents, Mr. and Mrs. Walker, with
Steve Ross as his pervert Uncle Ernie. Paul Nolan is outstanding as Cousin
Kevin.
The
musical has a large cast and its success lies in the production values that I
mentioned and not in any single aspect.
I
must admit that my appreciation of rock music falls
short of being keen and for that reason I have concentrated on the positive
aspects of the production. One day I may even come to appreciate really loud
music that makes my stomach vibrate.
_____
Tommy by Pete Townshend
and Des McAnuff opened on May 30 and will run in repertory until October 19, 2013
at the Avon Theatre, Stratford,
Ontario. www.stratfordfestival.ca
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