"THE WHO'S TOMMY ON BROADWAY" - IT'S A SENSATION! SEE IT! FEEL IT! - Plus meeting Pete Townshend

"THE WHO'S TOMMY ON BROADWAY" - IT'S A SENSATION! SEE IT! FEEL IT! - Plus meeting Pete Townshend. By Harold Lepidus (Boston Harold Podcast)

The revival of The Who's Tommy on Broadway was so spectacular Wednesday night, I hope I can do it justice here on the (electronically) printed page. 

Calling it a “Broadway Show” doesn’t even begin to describe this theatrical experience. It is a play, a musical, an opera, a religious tent revival, a multimedia event, and a rock concert, all seamlessly performed with both nostalgic and futuristic sets, and first rate special effects that take the audience on (you might say) an amazing journey. 

All the characters were brilliant and believable, especially the lead actors - Mrs. Walker (Alison Luff, reminiscent of movie mom Ann-Margret), Captain Walker (Adam Jacobs), and all three Tommys, including the grown-up version (Ali Louis Bourzgui, hair reminiscent of Jeff Slate’s). 

  

An important component to the show’s success is that despite all the trappings of Tommy being a Broadway musical, the play had the energy of a concert by the Who at their peak. The decades-spanning visuals, from depicting 1921 Britain through to a futuristic, computerized world, were all done in service of the play. There was nothing extraneous or unnecessary. It could be performed at the Sphere, it was that impressive (not that I’ve ever been, or care to.)

The storyline, slightly altered from the original 1969 double album, 1975 film, and other productions, is fleshed out, streamlining the somewhat complicated narrative. As mentioned above, there were three actors playing the main character, Tommy Walker, including two charming young children. While the show deals with child abuse, most of the heinous acts - written by the late, great, macabre bassist for the Who, John Entwistle - were not acted out. They were, thankfully, either only described, or discarded altogether. 

The revised plot added context to the storyline, for instance giving backstories to the “Wicked” Uncle Ernie and Sally Simpson characters in particular. The changes made in the narrative throughout the script, including the exploitation of the “miracle cure,” and especially the rewritten ending, kept the show fresh and alive and current. It kept the audience engaged, not just following a story that just about every audience member was already familiar with.  

During the height of the pandemic’s Delta variant era, I saw the Who at Boston’s TD Bank Garden the night before Mr. Townshend’s birthday. Townshend, singer Roger Daltrey, and current members of the Who, were accompanied by an orchestra.The set featured a healthy dose of Tommy material. The classically influenced arrangements not only embellished the overall sound, but gave Pete’s compositions an added emotional depth. The same holds true for Tommy on Broadway. 

"THE SHOULDERS OF GIANTS"

The performance I attended, the final preview before opening night, featured an introduction  by the director and book co-author (with Townshend) of the play, Des McAnuff. He gave a little introductory speech, saying it was a special alumni night, where all of the original cast and team members were invited. He added that the current production stood on “the shoulders of giants.” Mr. McAnuff paid tribute to three people who were no longer here to participate - keyboardist Ted Baker, original Broadway lighting designer Chris Parry, and UK lighting designer and main partner Howell Binkley. Mr. Binkley’s protege, Amanda Zieve, did an outstanding job. The visual effects metaphorically emphasized both what Tommy was missing, as well as what might have been going on in that pinball wizard's head.

These absent friends, of course, bring to mind all of the people we have lost over the decades, most notably original band members Keith Moon and John Entwistle. I'm not sure what I would have thought of the play had I seen it 30 years ago? I may have been too protective of the Who’s original vision. As time passes, our perspectives change and mature. We accept losses, painful as they may be. With productions as powerful as this, however, the Who’s legacy in general, and the Tommy rock opera in particular, will continue to live on.  (In fact, the audience cheered throughout the evening, not just for the music, but for the actors, the amazing choreography, and the special effects, as if they were at the Garden.)  

MEETING PETE TOWNSHEND

Afterwards, there was a group photo-op. Townshend was seated among the cast and crew. I snuck onstage, looking for him among the dozens of cast members and crew. This artist, who got me through some of the most difficult times in my life through his music, I wanted to show my appreciation, just like millions of others have done, in one way or another. 

Fortunately, I located him just before he left. I’ve interviewed John, bumped into Roger in a restaurant, and briefly met Kenney Jones, but never The Man himself. As I approached Mr. Townshend, he immediately focused on me, and generously took the time to interact. I didn’t want to take up too much of his time. I told him I was a friend of a friend, and asked if he would want a copy of my Dylan book. He graciously agreed to accept it, then I decided to say only one of the many things I wanted to tell him. In 1969, when I was ten years old, my classical music-loving father bought a copy of the Who’s Tommy, I think as a way to bond and connect with his rock and roll obsessed son. We listened to it on his big stereo setup in the living room. He explained things to me like what a libretto was, the purpose of the overture, the pun of an “underture.” Somehow, the double album eventually migrated up to my bedroom. I always recall those moments when I think of Tommy. 

I told Pete (I think we're on a first name basis now) how brilliant I thought the play’s production was, then asked if he was OK with taking a selfie. Pete said yes. Click, click. Then off he went. 

A truly memorable night.

https://tommythemusical.com/ Nederlander Theatre, 208 West 41st Street

Thanks to Jeff Slate, and Faith and Susanne, for securing a ticket for me.  

 (c) 2024 Harold Lepidus. Including photos.

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(JAE, September 1981, The Who's Wardour Street offices.)