Being of a certain age I
remember the film “Tommy” starring the gorgeous and talented
Roger Daltrey of ‘The Who!’.
Written by Pete Townshend with the help of John Entwistle
and Keith Moon the phenomenon of ‘The Rock Opera’ was created.
“Tommy” was originally
devised, written and recorded by ‘The Who’ in 1969.
In 1975 Ken Russell directed the film starring the members
of ‘The Who’ and several stars from stage, screen and the
pop/rock world. In
1993 Des McAnuff joined the gang in helping to devise the stage
musical. Which Geoff
and I saw on its second preview night in London with Kim Wilde and
Paul Keating. Unlike the film my memories of the stage show are somewhat
vague.
Not considering the fact
that I, like so many hundreds if not thousands of the youth of
Britain, had a bit of a crush on Roger Daltrey, I hadn’t ever
expected to get the same rush of emotion hearing other people sing
some of these classic numbers. Unfortunately, due to the producers
not consulting us on their run, and daring to book this production
into Edinburgh, 16th to 21st May 2005, while
we are on holiday, I had to travel through to Glasgow to see this
version, and was wary as to how it would compare with my memories
of the film, and the hazier ones of the London show.
 The
fact that it is a Bill Kenwright production and has Jonathan
Wilkes in the leading role of both the narrator and Tommy I should
have been reassured as to the quality.
Having first seen Jonathan in the joint roles of Jesus/Judus
in Godspell 2002, then Frank N Furter in the Rocky Horror Show and
Danny in Grease, all quality shows, I should have known I would
love it.
Jonathan’s stage presence
seems to go from strength to strength as does his vocal abilities
and his acting, although he has always had good scripts, talented
casts, tight productions and willing audiences behind him.
Back to “Tommy”! The set
is fairly simple, a large chrome and black edifice on three
levels. Stage level providing entrances from both sides, a
slightly raised platform at the back on which the six piece band
are ensconced. Centre
stage we have a divided staircase joining at a level above the
band to produce a raised rostra. From which a single staircase
rises to the upper level. This is a sort of horseshoe shaped
balcony providing another four possible entrances and exits.
The balcony comes into its own several times but possibly
most memorably when two guitar players move one to either
extremity to play, superbly the fantastic guitar music used in the
show.
The costumes are many and
varied causing most of the cast to have several quick changes.
The lighting is used to good effect and the use of minimal
props and flying scenery add to the overall effect.
Most memorable is probably the giant mirror in which
“Tommy” is imprisoned. The
story line in the stage show is somewhat simpler than that of the
film and the several possibly sensitive subjects are simply yet
effectively handled by the use of vocal narration rather than
physical demonstration.
 Vivienne
Carlyle’s portrayal of Mrs Walker, Tommy’s mother, is
sensitive, totally believable and superbly executed.
Her voice is both powerful and melodic.
This local lass has successfully lost any strong Scottish
accent playing the part with excellent received pronunciation!
She is also an excellent foil for Damien Edwards as Captain
Walker. Whose stage
presence was at times menacing, sensitive and almost bewildered.
We see Tommy through three
ages. In Glasgow Tommy aged 4 is either Andrew Brien or Connor
Mullen. The older Tommy aged 10 is Brian Joseph Mccann. Brian has
yet another lovely voice, but there is not a bad one in the
company!, and although looks nothing like Jonathan acts and reacts
very well with him. When he is part of the ensemble you actually
have to look quite hard to see him.
Tom Newman as uncle Ernie is
a creep from start to finish and gets his just rewards towards the
end of the show. He does however have a good voice and stays
completely in character at all times.
Andy Crawford’s Cousin
Kevin, like uncle Ernie sends shivers down your spine particularly
during the school bully scene.
Although Andy takes the lead in the act one finale
‘Pinball Wizard’ it is more an ensemble number and rounds off
the first half superbly.
 I
do remember from the London show I did not like the Acid Queen
scene but in this production it is far more, to my mind, sensitive
yet menacing. Landi Oshinowo as the said Acid Queen could
certainly give Tina Turner a run for her money and could probably
win hands down both vocally and physically!
I really enjoy ensemble
shows where it is obvious that cast, band, technicians, stage crew
and wardrobe work together virtually flawlessly as one unit and
this is one of these shows.
The band are Stuart Morley,
Andy Browning, Tommy Emmerton, James Gambold, Ieuan Rees and Nick
Radcliffe. The so far unmentioned members of the cast are Rebecca
Jo Hanbury, Lee Mead, Sophia Norris, Andy Pelos, David Stoller,
Rachel Tucker and Jamie Tyler.
Not forgetting Choreographers, Directors, SM, ASM,
Wardrobe, Sound, Lights etc, etc.
Finally last but by no means
least the man without whom this phenomenon would not have existed,
the legendary Pete Townshend.
Oh, by the way my toes
curled up listening to Jonathan sing, ‘I’m Free’ but I also
loved ‘See Me, Feel Me’, ‘Sensation’, ‘Listening to
you’ and ‘Welcome’!
I asked two of the younger
members of the audience what they thought of the show and they
both loved it. Possibly because cousin Vivienne was in the show.
They were not the only people in the audience under 16 and
everyone seemed to like it.
The young Tommy of the
evening when asked if it was scary looking out to an audience all
on their feet clapping and cheering, to which he replied quite
categorically NO!
Glasgow
Kings Theatre 28th March
to 2nd
April 2005.
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