New Who songs rock the Quarry Theatre as LEO OWEN catches Tommy on its UK tour

COLLABORATIVE disabled-led theatre company, Ramps on the Moon, return to the Playhouse after the success of The Threepenny Opera and the Olivier award-nominated The Government Inspector. Pete Townsend adds to original lyrics/music penned with Keith Moon and John Entwistle in Director Kerry Michael’s new stage adaptation of The Who’s rock opera Tommy.

In the opening dance sequence, choreographer Mark Smith uses montage to show a couple meeting, marrying and being separated by war. Breezy tune “Twenty-One” gives the audience a false sense of security as a poorly-timed reunion interrupts, shattering the optimistic mood and marking the beginnings of a tragic sequence of events. A traumatised and guilt-ridden Tommy (William Grint) grows up fatherless, seemingly “deaf, dumb and blind”, a medical anomaly.

Michael fluidly pairs BSL and dialogue, never detracting from the action, unlike the occasionally distracting subtitled lyrics/dialogue. Shekinah McFarlane is cast as the voice of Tommy’s deaf mother (Donna Mullings) and perfectly directed to complement Mullings performance. A live band play at the rear of the stage with members seamlessly becoming part of the action. Opening scenes portray the wartime setting with simplicity as Designer Neil Irish’s versatile steel wall panels give the stage both a slightly clinical military feel while also depicting a factory setting and being the perfect backdrop for projected subheadings. Irish also later dresses Tommy’s biological father (Max Runham) in white as his ghost symbolically haunts him like his disabilities and traumatic past.

As a song “Christmas” works on two levels, alluding to the saving of Jesus Christ or the transformation of Tommy, foreshadowing later events. Fans of The Who and the innovative concept album this production is based on, will undoubtedly enjoy trademark hits like “Pinball Wizard” but the real talent lies in the performance of their often rather laboured and pedestrian lyrics. The sinister “Fiddle About” is masterly performed by Gary Robson as lights drop, the word “fiddle” is repeatedly projected onto the stage and illuminated hands appear in the darkness. “Cousin Kevin” is equally menacing and faultlessly performed by Lukus Alexander while he moves from the Walker house to the playground and youth club. “Acid Queen” (Peter Straker) is an odd glam rock number with original cast member Peter Straker as a gypsy claiming to have healing abilities. Straker clearly has trouble tottering around in exceedingly high heels but can certainly belt out vocals.

The first half is undoubtedly the stronger of the two with the second dominated by reprises and a slightly laughable plot. Despite its historical setting, blue grid lights reminiscent of Tron and brilliant white give Tommy an unnerving sterile dystopian feel, only made even more nightmarish by a “Pinball Wizard” statue, Uncle Ernie’s Tommy -themed holiday camp and sensory deprivation masks simulating Tommy’s experience. Despite its cultish psychedelic feel, Tommy’s end is oddly uplifting, encouraging viewers to embrace their individuality.

Who fans will be in their element while stylised design, a fast-pace and beautiful harmonies from unanimously strong cast will save Tommy’s medley of songs from blurring into one-another for those less familiar.

The Who’s Tommy shows in The Quarry Theatre May 8-13 before continuing its UK tour: https://www.rampsonthemoon.co.uk/show/the-whos-tommy/