Review: TOMMY at MTH

"The Who's Tommy" at MTH Theatre in Crown Center compels its audience. With Director Sarah Crawford's signature MTH interpretation and an outstanding cast, a better production of a complex piece of musical theatre would be tough to imagine.

"Tommy" is sex, drugs, rock n roll, religion, and childhood trauma all wrapped up and tied with a bow. Written in the late 1960s, it not hard to imagine the "Who" (at least part of the time) being under the "influence" as they composed this iconic rock n roll opus. "Tommy" is almost completely an opera in that it is almost completely sung rather than spoken. The plot is opaque. One orchestra member confessed that the show becomes clearer to him with each run through. The audience should consider watching more than one performance. Cliff notes on the plot would be helpful.

The time and place are the World War II years in London, England. Captain and Mrs. Walker are pregnant with their first child. Mrs. Walker receives word of her husband's apparent death in combat before giving birth to a boy child that she names Tommy.

Tommy develops normally over the next four years. Mrs. Walker (Leah Swank Miller) moves on with her life. There is a new man who seems glad to become Tommy's Dad. Remarkably, Captain Walker (Josiah Mullins) returns from the reported dead. There is an argument and the new man is shot dead in front of Tommy.

Tommy is traumatized. He instantly loses the ability to see, to speak, and to hear. Tommy's ability to communicate manifests only through an adult version of himself (Tom Vendafreddo) who is apparent only to the audience (as narrator) and to Tommy himself. Doctors do not know what to make of Tommy's problems.

Six years pass. It is Christmas. Tommy Responds to sound for the first time from his Uncle's French Horn. The parents are encouraged to again search for solutions to Tommy's trauma. The family is directed to a false cure administered by a mysterious charlatan (Shelby Floyd) on a secret island who sings "The Acid Queen." There are allusions to sadism by the neighborhood children, alcoholism, drugs and child sexual abuse. Somehow, despite his disabilities, Tommy becomes a famous "Pinball Wizard." Eventually, Tommy Regains his senses and becomes a celebrity. Tommy's fans evolve into a religious cult-like following that grows up around him. He rejects the cult, returns to family, and tells his followers to return to their own lives.

The MTH treatment revolves around stripping a show of its unnecessary pieces. Ms. Crawford has a talent for adding back in the sense of what is going on, impeccable stage pictures, appropriate costuming, and dance. Sets and props are minimized. Because of the way in which the scenes are staged, the number and precision of lighting cues are incredible. The rock orchestra conducted by Jeremy Watson is tremendous.

Tom Vendafreddo, Leah Swank Miller, and Josiah Walker are all outstanding. "Tommy" also features plenty of feature opportunities, which are all executed flawlessly. Part of what makes this show so remarkable is the choreography by Kenny Personett (who is also in the ensemble). It is incredibly sharp, Not only do these people move their feet, they act their dances. The effect is impressive.

"Tommy" is one of the two best performances I have enjoyed at MTH. The other is "Jesus Christ, Superstar." Both shows began life as concept albums. It was not until much later that either evolved onto the stage. "Tommy" is impressive. I'm not sure I loved the material, but I am sure I loved this performance, this cast, and this interpretation.

"Tommy" continues at MTH through June 25. Tickets are available at www.mthkc.com or by telephone at 816-221-6987.

Photos by Tim Scott at MTH

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