By Cindy Whitehair and Perry Whitehair
The Ziegfeld Theater in Ogden has a long track record of performing great Rock and Roll musicals. The Who’s Tommy is their latest foray into the genre.
Every generation has had its seminal album. For people of my generation, The Who’s Tommy was one of the most innovative albums of its time. It pioneered the “rock opera” genre. The musical (written by Pete Townshend with additional music and lyrics by John Entwistle and Keith Moon) loosely follows the album’s storyline but fleshes out some of the story. Four-year-old Tommy witnesses his father (a returning prisoner of war) murder his mother’s lover in a very violent fight (“Twenty One”). His parents convince him that he didn’t see or hear anything and that he mustn’t ever say anything. Because of this Tommy becomes blind, deaf, and dumb. His parents spend a number of years seeing a number of quack doctors who promise to cure him. His parents ignored their suspicions about the abuse that their son is receiving at the hands of extended family (“Do You think It’s All Right”). Then one day, at the local arcade, Tommy discovers pinball and that eventually sets his recovery into motion. The rock opera was first performed by the Who in 1969 and the musical was first performed at the La Jolla Playhouse in 1992.
Set designer Caleb Perry makes excellent use of the Zig’s performance space. The projection panels help set the various scenes (the allied airfield, parachuting in behind enemy lines, the Walker home back in London, etc). Beyond that, rolling doorways help define spaces nicely. Lighting design (Eliza Haymie) is perfect. Hair, make-up (Dee Tua’one) and costumes (Evan Vincent who also did Wig Design) cover the three decades (1940 to 1960) with great detail. The Nazi uniforms used in scene 1 are the closest to authentic that I have ever seen on stage. Sound (Design Kyle Lawrence – Operator Jared Hunt) is the technical weakness. The performance we saw was plagued with the bane of every community theater—a n uncooperative mic. However, the use of a live band helped overcome that issue. One thing of note. When we walked into the theater, the usher handed us foam hearing protection. When asked why, she said that the show was loud, and it was. Depending on where you are sitting, that is something to consider.
Overall, the acting from this cast is quite solid. The trio of Tommy’s (Grace Hunt, Annie Potter and Jeremy R. Gross) are outstanding. Hunt (Tommy age 4) and Potter (Tommy age 10) had probably the hardest job because they could not react to anything going on around them and they are often pushed, pulled, prodded, and flung around the stage with great regularity during the first act, and they didn’t break character. Gross is just amazing. He channels a 20-year-old Roger Daltry as if it was nothing at all. His physicality is astonishing, as he leapt on to and off of the pinball machine with ease. Cameron Kapetanov and Heidi Potter Hunt (Captain and Mrs. Walker respectively) are equally strong vocally in very demanding roles. Hunt’s “Smash the Mirror” is the turning point moment in the second act and she gives you every range of emotion you expect out of that moment. Timothy Behunin (Uncle Ernie) and Austin Payne (Cousin Kevin) are Tommy’s two biggest tormentors and both actors do a fine job of walking the fine line of playing a darker character and not taking the moment too far. The ensemble (Krystal Decristo, Lindsay Kapetanov, Becky Jeanne Knowles, Kate Konchar, Kate Potter, Laura Rizzo, Jason Shumate, Dee Tua’one, Evan Vincent and Jace Von App) are all rock solid in their performances, pun not intended. Rizzo and Tua’one are especially delightful as Sally Simpson and the Specialist in “Go To The Mirror”.
Director Caleb Parry creates many poignant moments through all of the “See Me, Feel Me” reprises as the three Tommy’s interact with one another through the telling of this story. He also handles the delicate, darker moments with great skill. Lawrence has his hands full as Music Director. Taking a large group of actors who have been groomed to “sing pretty” and have them turn around and sing “rock” (which is much rougher) is quite the challenge and the challenge is well met. Joshua Robinson’s choreography has a few too many “modern” elements to it for my liking. I would have preferred to see something a little more 1960’s Great Britain and less 2010’s Broadway, however maybe he is using this to update the look of the show.
All in all, if you are a fan of the Who or rock musicals, you should make time to see The Who’s Tommy at the Zig. It is an experience not to be missed.
viagra without prescription Dogs with this condition often have insomnia, or switch their sleeping and waking cycles. Thus, the drug viagra pfizer 25mg helps to make them relaxed. It leads to sexual disorders like weak erection, semen leakage, cheapest viagra in australia sexual weakness and quick ejaculation. You can consume this herbal supplement http://new.castillodeprincesas.com/directorio/seccion/ajuar-de-novio/?wpbdp_sort=-field-1 cialis properien regularly is one of the best natural ways to overcome masturbation effects.
This show is best suited for children over the age of 13 due to scenes of violence, bullying, and the inference of child abuse.
The Ziegfeld Theater presents The Who’s Tommy by Pete Townsend and Kit Lambert. Book by Pete Townsend and Des McAnoff, Music and Lyrics by Pete Townsend, John Entwistle and Keith Moon.
The Ziegfeld Theater, 3934 Washington Blvd, Ogden Utah 84601
June 15-30, 2018, 7:30 PM Friday and Saturday, 2:00 PM matinee June 23.
Tickets: $19.00 adults, $17.00 seniors, students and children 3-12 in advance and $1.00 more if purchased at the door. No children under 3.
Contact: 855-944-2787
Ziegfeld Theater Facebook Page
The Who’s Tommy Facebook Event
0 Comments