BWW Reviews: The Who's TOMMY at Mad Cow Theatre

Season 18 at the Mad Cow Theatre Company is here, and up first: THE WHO'S TOMMY. The 1993 Best Musical nominee is considered to be Broadway's first Rock Opera turned Rock Musical. Shows like Greenday's AMERICAN IDIOT, Stew's PASSING STRANGE, and, more recently, David Byrne and Fatboy Slim's HERE LIES LOVE all followed. But it was The Who that first took their concept rock album and turned it into a warm-blooded stage musical. In doing so they attracted a younger audience (that once looked at Musical Theatre as something their grandparents listened to on vinyl) to Broadway.

When it first premiered, Frank Rich of The New York Times described TOMMY as "so theatrically fresh and emotionally raw that newcomers to TOMMY will think it was born yesterday." The show picked up five Tony Awards that year for Directing, Choreography, Lighting, Scenic Design, and Score. TOMMY failed to claim Best Musical; that award went to Kander and Ebb's KISS OF THE SPIDER WOMAN (also playing in Orlando later this month at UCF). However, judging by the long list of rock musicals continuing to be produced, TOMMY's enduring impact on musical theatre is clear.

After witnessing a murder as a young child, Tommy retreats into himself in catatonic shock , unable to communicate whatsoever. Tommy's parents, Captain and Mrs. Walker (played by Arthur Rowan and Heather Kopp), quickly become vexed by the state of their son. They blame themselves, rightfully so, and lack the slightest idea how to best treat him. Most of the first act depicts the arduous and torturous life Tommy experiences as a ten-year-old. But once the town discovers his true talent as the "Pinball Wizard," Tommy finally begins to receive praise and respect.

Inspired from The Who's concept rock album, TOMMY will only come to life with an electrifying pulse, and Donald Rupe's disordered staging fails to attain that. The musical requires that Tommy's world be an unhinged reality, expressed through Tommy's narration of an abusive childhood. William Elliot's set design, which looks like it was repurposed from The Wedding Singer, helps to capture this world, but that is as far as this production dares to venture. It lacks the theatrical rawness Frank Rich once described.

With a constant underscoring of music in the first act, TOMMY should play like a long musical montage,with set pieces and talent rolling on and offstage without pause but the theme of a montage is beaten down by many unnecessary blackouts. While many numbers never fully materialized on stage with a clear directorial vision (such as "Pinball Wizard"), there were numbers that worked well; "I Believe My Own Eyes" was the pinnacle of the evening.

Peter Townshead's score appeared to challenge the Ensemble, strained vocal chords were heard instead of singing in a more appropriate key, but Juan Cantu's notable vocals resulted in a standout performance of the perverted Uncle Ernie. Jared Warren as the 10-year-old Tommy and Heather Kopp as Mrs. Walker also gave strong vocal performances.

Mad Cow should be recognized for the challenging material they continue to select. Orlando audiences won't find hummable, fluffy musicals produced on Church Street. The trouble is finding talent parallel to the challenging work they produce. While good direction is important to the creative process, casting is where it all begins. I was once told, "Never precast your show, but always know that you can cast it." Sage advice to heed, especially for Mad Cow and their headbanging rock n' roll-inspired musical that rocks but never rolls.

For tickets to The Who's TOMMY, running through November 2nd, visit Mad Cow Theatre's website.

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