‘The Who’s Tommy’ true to rock roots

Joe Delaney

Friday, Jan. 18, 2002 | 9:14 a.m.

"The Who's Tommy," a Jeffrey Finn production being performed at the Aladdin Theatre for the Performing Arts through Sunday, is a first-rate road-company production.

The musical was written by Pete Townshend and Des McAnuff, and features music and lyrics by Townshend. This production is directed and choreographed by Tony Stevens.

We give top marks to the orchestra and to an excellent cast led by Michael Seelbach as Tommy. The two-act (with intermission) production flowed smoothly, although the ending could have been shortened by five minutes or so. Because it is a road-company production, corners have to be cut and the staging changed for economic reasons.

The set, conceived by scenic designer Edward Pierce, was built in Las Vegas by Themeing Solutions, and is a marvel of ingenuity. The resulting efficiency will bring about savings in the cost of transporting and setting up, but those who are "Tommy" fans familiar with previous incarnations will have to adjust accordingly. Otherwise, this show is faithful to the intent of of its creators.

The story deals with Tommy as a child, who has a traumatic experience which causes him to withdraw from the world, apparently unable to see, hear or speak. He becomes a hero as a pinball wizard and is forced to live up to the demands of his followers until another traumatic event restores his faculties and frees him to return to his family. All the classic Who "Tommy" hits are included.

Lisa Capps plays Tommy's mother; Michael Berry portrays his father, Capt. Walker, wounded in action and returned to find that his wife has a lover. There is a confrontation, the father kills the lover. Tommy awakens to this scene and is told that he saw nothing, heard nothing and should say nothing.

Ridiculed by his uncle, Ernie (Christopher Russo), and cousin, Kevin (Daniel C. Levine), Tommy's only refuge is playing a pinball machine. His parents take him to doctors and reputed healers, and finally to the Acid Queen (Monique L. Midgette). He is discovered to be a pinball wizard, still non-communicative, and becomes a celebrity.

Seelbach as the grown Tommy realizes this celebrity alone is meaningless. His mother smashes his mirror and the trauma restores his faculties. He returns to his family and welcomes the world to share his newfound reality.

Extremely well-sung and performed, this production is recommended. Those seeing it for the first time should enjoy it as the world's first classic-rock opera. Those who have seen it before should forget comparisons, relax, sit back, enjoy it even more.