Giovanni Spano and Ashley Birchall in The Who’s Tommy at the Greenwich Theatre, London. Picture: Claire Bilyard
The Who’s Tommy continues at Greenwich Theatre, London until 23 August.
Star rating: 4 stars ★ ★ ★ ★
Born out of a desire for inner enlightenment, Tommy is the brainchild of Pete Townshend of the legendary rock band The Who. Billed as a ‘rock-opera’ – the first of its kind – Tommy was originally released as an album in 1969, which later sold more than 20 million copies worldwide. A movie version was made by British auteur Ken Russell in 1975 and in 1992 Des McAnuff steered it successfully to the stage, with a production running for a year at the Shaftesbury in 1996 starring Kim Wilde and Paul Keating.
The musical’s narrative has never really been set in stone but essentially tells the story of a young boy traumatised after witnessing his father commit a murder. He grows up deaf, dumb and blind and seeming unable to connect to the real world. In this state he is abused, offered quack remedies and it seems that nothing can be done until he is placed in front of a pinball machine. It is through this gimmick that Tommy can reconnect to the outside world and he becomes a celebrity of sorts. Finally shaken out of his trauma, Tommy’s celebrity becomes a cult and fans turn to him for enlightenment.
With a story open to such diverse interpretation and a full-on rock score that only pauses for the interval, Tommy is not the sort of show that can be treated with too much formality, making Michael Strassen the perfect choice for director. Already credited with enlightened re-interpretations of Pacific Overtures, Billy and Godspell at the Union Theatre, Strassen’s Tommy explores the inner workings of the hero’s experience rather than simply presenting the traumatic void. Integral to his team are musical director Kevin Oliver Jones, whose interpretation of Townshend’s score is as dynamic as it is emotive and Mark Smith, whose expressive choreography breathes life into the story.
Given the relatively small four-piece band and a cast of only ten performers, this production is a riot of evocative guitar riffs, explosive set pieces and great songs that cross several generations. Greenwich Theatre is one of the few smaller venues in London big enough to house a decent rock sound and Strassen’s cast possess the power and range to do it justice.
John Barr lends an eerie reality to the creepy, ‘kiddie fiddler’ Uncle Ernie, while Giovanni Spano is equally as frightening as the violent, but remarkably nimble Cousin Kevin. James Sinclair and Miranda Wilford as Captain and Mrs Walker capture the desperation of a family on the verge of a nervous breakdown, while Danny Becker briefly stands out vocally as the doomed Lover.
Carly Burns provides a slightly less satisfying performance as the Acid Queen, somehow lacking power and authority in the role. Ashley Birchall brings a necessary sensitivity to the title role, underpinning his pain with an eloquence that transcends any confusion in the loose narrative. Here is a Tommy that can speak to his audience and who’s journey is all the more lucid for it.
Nik Corrall’s simple set design suits Strassen’s often ingenious staging – and possibly the budget – but there are some bizarre costume elements that don’t really make sense. This is nit-picking, however, in an exciting production that is full of memorable performances, thrilling choreography and a score that fully deserves its standing ovation.
Paul Vale
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