Guest Reviewer Kym Vaitiekus Shares His Thoughts On TOMMY

Tuesday 22nd February 2022, 7:30pm, The Palais.

Welcome to Victoria Opera's house of Tommy.
Director Roger Hodgman brings Pete Townsend's Tommy to the Australian stage.

It follows Tommy's journey, as a traumatic event renders him deaf, dumb and blind.

After many trials and tribulations and his parents endeavour to find a cure, Tommy finally becomes aware. This takes him on a celebrity rocket ride which then instigates another revelation for Tommy.
Mat Verevis, as Tommy, has a voice with the power of opera and the sound of hard core rock. He brings the songs to life with gusto. His performance beautifully portrays Tommy's internal intensity, his angry and cocky revival and to his enlightened awareness. Amy Lehpamer plays Mrs Walker with a voice to die for. Lehpamer encapsulates the traditional mother who strives for her son's welfare while struggling with her son's plight. Matt Hetherington, with another talented and engaging voice, portrays the stern and somewhat distant father. Vincent Hooper is the evil Cousin Kevin that torments poor Tommy. Hooper does this with energy, conviction, and verve. Kanen Breen is the lecherous Uncle Ernie. He plays this role superbly in a vaudevillian way. He has the voice and the moves to play this part perfectly, a gem and a comic relief. Paul Capsis is cast wonderfully as the Acid Queen, he has the unique and commanding voice that brings this part to life.

Hodgman leads an expert team in a production that is spectacular, engaging, and dynamic. He has deftly combined the cast, the choreography, blocking and staging in a tight and fast pace performance that supports this masterful Rock Opera.

Christine Smith's Set design is straight forward with a sophistication that allows each scene to shine and gives Hodgman's direction great scope. Jamie Clennett's video design is wonderfully apt. The high and wide screens work as the backdrop, with images that are descriptive and symbolic. The colourful and creative visuals work wonderfully with Matt Scott's lighting design. Scott has expertly combined theatrical lighting with impressive elements of rock and roll. We are engaged both as a theatre and rock concert audience.

It's obvious that Hodgman has ensured a total collaborative effort. All the elements of this production merge beautifully. This is also apparent in Dana Jolly's choreography. Her work fits the era, the stage, and the drama while being inventive and savvy. The ensemble is sensational in bringing Jolly's work to life.

Pete Townsend, from the rock band the Who, wrote this Rock Opera in 1969. The band would perform it in concert. Since then, there have been a few musical versions. This production follows in the footsteps of the most recent runs on Broadway and London. It's been referred to as a Rock Opera and as a Rock Musical. This production seems to be a hybrid.
The music is definitely Rock and this production has staging elements of both the musical and the opera genres.
This mix works in sync with the hard rock sounds for the score. However it's seems to have pulled back on some of the dramatic elements of the storyline.
Having the three Tommy's on stage together is a choice that brings depth and connection to the plight of Tommy and the journey he takes. The three Tommys, Verevis, Hamilton Binnie Garcia and Elijah Slavinskis, are superb. We feel the emotion.

Whereas many other scenes lack that intensity. Tommy is traumatised to the extent that he becomes deaf, dumb and blind. But this production plays it safe. The trauma inflicted on Tommy doesn't match the outfall it creates. For Tommy to be rendered lifeless, we need to feel the scope of his trauma.
Having safe choices pulls back on the immensity of Tommy's story. His journey is arduous. To witness a family murder and to be victimised and abused - these scenes could be portrayed with veracious intensity.

The safety in direction also pulls back on the layers in all the performer's characters. It felt like many of the cast were held somewhat back in their approach to their performances.

Technically and theatrically the production is flawless. The voices sublime. The staging and choreography is powerful and entertaining. The band/orchestra is masterful. If the actors were allowed time and permission to explore and express the depth of emotion that their characters have, this production would be phenomenal.

Victoria opera has produced a very fine piece that I highly recommend. So fine I don't understand the short run. It's a shame all this effort and expertise is not given the opportunity to shine for longer. Catch it while you can.

https://www.victorianopera.com.au/season/the-whos-tommy

Photos: Jeff Busby

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