PicksInSix Review: The Who's Tommy - Goodman Theatre
Take A Trip Of Rock Absurdity!
PicksInSix® Review | Guest Contributor | Scott Gryder
The effusive level of pre-show chatter seamlessly fed off the whirring rush of interstellar white noise soundscape that filled the theater before the opening night performance of “The Who’s Tommy” at the Goodman Theatre. A packed house of patrons was pumped to celebrate the 30th anniversary of Des McAnuff and Pete Townshend’s musically psychedelic experience.
A rock opera-like concept album-turned-stage production, “The Who’s Tommy” tells the bizarre and unraveled story of Tommy Walker, a young man who becomes almost vegetative after witnessing a horrific tragedy as a child. Although Tommy loses his ability to speak or respond, no matter how the people around him test and manipulate him, the music of “The Who’s Tommy” is anything but muted or stilled. Whether you grew up listening to the 1969 LP or you are new to this musical device, this experiential event is not easily forgotten.
In a show that is so quickly paced that most characters resort to two-dimensional dynamics, “The Who’s Tommy” revolves around the traumatized and zombified life of Tommy Walker. Ali Louis Bourzgui delivers an enigmatic Tommy, who’s rageful yet warm rock baritone fits the score wholly; however, though he shines vocally and physically embodies a contorted delirium with dedication, Bourzgui lacks the enchanting charisma that could drive a troubled crowd to seek him out as their savior in the final moments. The most standout of the principals is Tommy’s mother, Alison Luff, whose Mrs. Walker so smartly and subtly adds compassion to each of her musical moments, devoting her cause to freeing her son from his tortured state. And it’s Bobby Conte as Cousin Kevin, who, although bullies Tommy in despicable ways, generously belts and riffs with an effortless rock-musical ability.
Although familiar with the 1975 film, I hadn’t grown up listening to the original concept album, and I was very eager to see how the team of director McAnuff and choreographer Lorin Latarro was going to bring this semi-delirious dreamstate of a concept musical back to the stage. What I found most challenging was the staging concept distorting the time period of the piece, ranging from the 1940s to the 1970s, and the stylings of the music. It was sometimes jolting that the song genres didn’t align with the time period of the story. Alternatively thinking, with a plot that sometimes sends one’s head spinning with its frenetic, drug-induced book, if one stripped away the repetitive, pop lyrics entirely, it’s feasible that “The Who’s Tommy” could easily transform into a passionate rock ballet. And it’s thanks to the genius of Latarro’s choreography that the ensemble moves as one communal organism, emphasizing the subtext of each scene by storytelling through movement, executed with power and grace.
Within the rapidly pinballing vignettes led by little plot-based lyric, “The Who’s Tommy” hardly allows for character development or discovery, and it’s the production’s creative team that provides the foundation for layers of emotional evolution. David Korin’s set designs literally pulse across the stage, sliding mechanically in and out, framing moments for emphasis to better communicate the wants and needs of characters. Combine that with the laser lighting design of Amanda Zieve and Peter Nigrini’s honed projections, and the essence of each scene is instantly captured through the visual narrator. Even more impressive is the balance between the bombastic voices and the rocking nine-piece band, which brings the sonorous strength of a full orchestra. Rick Fox’s music direction and Gareth Owen’s sound design truly satiate!
Although “The Who’s Tommy” is presented in a succession of pell mell, whirlwinding memorable melodic moments paired with snippets of searing plot, it does remind us to shatter the ring-lit mirrors of our own inhibitions brought about by the traumas of our past in order to clear our minds and live in the present; coming home to our true selves. In a time where being true to oneself can bring about literal violence from those who don’t agree or understand, it’s moving to remember how the power of the universal language of music can deliver a unifying force to bring an entire audience to its feet.
GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com
PHOTO|Liz Lauren
GOODMAN THEATRE
presents
The Who’s Tommy
EXTENDED through August 6
Albert Theatre
170 N. Dearborn St.
(312) 443-3800
WEBSITE
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