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Post by danb on Apr 5, 2024 2:58:34 GMT
This Broadway transfer of Des McAnuff’s Chicago reworking of his 1995 production of The Who’s seminal rock opera looks pretty sensational on the Nederlanders’ massive stage, despite not quite matching up to its’ groundbreaking scenic design. Given that it was pretty much the first to use projections it has a lot to answer for. But when they are as innovative and ‘part of the whole’ as these, they are anything but a cheap alternative to a set. Furniture pieces are wheeled on and add depth and purpose, and a massive mirrored wardrobe has a big part to play. Wired flying played a massive part in the original production, but all 3 ages of Tommy are thrown, carried and passed around to similar effect here.
I have to admit being a tiny bit underwhelmed by the first act. It is played straight through with no breaks for applause. We were in the 4th row right by a speaker stack and still it didn’t really have the volume I’d hoped for. Thankfully act 2 knocked my socks off and made it more than worthwhile. Ali Louis Bourzgui (adult Tommy) has a gorgeous tone, sounding like a young David Essex at times, with a vulnerability and crazed look in his eyes. I dearly hope this transfers because I need to see it again and again and again as I did the original.
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Post by max on Apr 5, 2024 15:35:43 GMT
Shame about the volume - I have great memories of seeing this for the first time at the Shaftesbury Theatre in London, and the entire Stalls bobbing up in their seat in shock at the volume of the first guitar chord. Good to hear the production gathers impact. The projections were always spectacular, and surely influenced by Gilbert & George artworks. I guess it's a very simple trick, but the parachute sequence was so memorable.
I'm curious about the choreography for this revivel. Clips don't look all that different from the original - including the block of bodies leaning back in awe from the pinball machine in 'Pinball Wizard', but it's not the same choreographer (Wayne Cilento) credited, despite him winning the Tony Award and many others for it. Yet the new choreographer doesn't seem credited as 'recreating' the original. How does that work I wonder? Why was it changed?
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Post by danb on Apr 5, 2024 21:43:56 GMT
Shame about the volume - I have great memories of seeing this for the first time at the Shaftesbury Theatre in London, and the entire Stalls bobbing up in their seat in shock at the volume of the first guitar chord. Good to hear the production gathers impact. The projections were always spectacular, and surely influenced by Gilbert & George artworks. I guess it's a very simple trick, but the parachute sequence was so memorable. I'm curious about the choreography for this revivel. Clips don't look all that different from the original - including the block of bodies leaning back in awe from the pinball machine in 'Pinball Wizard', but it's not the same choreographer (Wayne Cilento) credited, despite him winning the Tony Award and many others for it. Yet the new choreographer doesn't seem credited as 'recreating' the original. How does that work I wonder? Why was it changed? It certainly felt ‘inspired’ by the original choreo, but Lorin Latarro is credited now. I realised earlier that 2 songs had been cut completely without noticing. I certainly appreciated the subsequent 2hr 15 runtime after a day of dragging myself round Manhattan. |
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Post by max on Apr 5, 2024 22:41:58 GMT
Interesting. Can you remember what they cut? I wonder if 'I believe me own eyes' is gone, it was reasonably good, but didn't feel of a piece with the original songs.
There was a version by Ramps On The Moon in the UK that added a further song for the Acid Queen (who was played by a man) - I'm sure you'd have noticed if it had been added. It didn't really earn its place.
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Post by danb on Apr 6, 2024 1:53:26 GMT
No it was ‘Tommy’s Holiday Camp’ (Uncle Ernie's act two ditty) and I think a bit of ‘Miracle Cure’.
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Post by max on Apr 6, 2024 8:48:59 GMT
No it was ‘Tommy’s Holiday Camp’ (Uncle Ernie's act two ditty) and I think a bit of ‘Miracle Cure’. Thanks. 'Tommy's Holiday Camp' is short, but effective. The only song in it by Keith Moon. Perhaps it was felt that (despite the crazed carnival feel of it) Uncle Ernie mustn't be given any lightness after what we've seen him do to 'Tommy'. In general in theatre there seems to be a moving away from (and fear of?) using grotesquery or irony to trick the audience into laughing along while feeling bad that they did. Maybe they've decided 'we're not going to take it'. Enjoy the rest of your NYC adventures. |
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Post by Mark on Apr 7, 2024 16:47:58 GMT
Seeing this one today! Know very little about it except my dad was involved in a production at school and still goes on about it now.
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Post by Mark on Apr 8, 2024 14:10:07 GMT
I thought it was wonderful. The music is obviously great, but the staging and storytelling is truly great, it all comes together so well. Very impressed too of course by the choreo and lighting. All you could want in a big revival production - I’m curious whether this one will make the move to the West End, would do very well I’m sure.
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