Tommy: The Musical, Pete Townshend, Random House, 1996, 0099437414, 9780099437413, . .

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The musical opened at La Jolla Playhouse in San Diego, California on 1 July 1992. The Broadway debut was at the St. James Theatre on 22 April 1993 and closed on 17 June 1995, after 899 performances and 27 previews. Directed by Des McAnuff with choreography by Wayne Cilento, the original cast included Michael Cerveris (Tommy), Marcia Mitzman (Mrs. Walker), Jonathan Dokuchitz (Captain Walker) and Cheryl Freeman (The Gypsy/Acid Queen) plus an ensemble that included Alice Ripley, Christian Hoff, Norm Lewis, Paul Kandel, Tracy Nicole Chapman, Michael Gardner and Sherie Rene Scott. The play subsequently was produced by various touring companies throughout North America and Europe.

The original Broadway cast performed a one night only reunion benefit concert at the August Wilson Theatre in New York City on 15 December 2008. Produced by The Path Fund/Rockers on Broadway, the concert was a benefit for Broadway Cares/Equity Fights AIDS, the Broadway Dreams Foundation and the Bachmann-Strauss Dystonia and Parkinson Foundation.[4]

1940: Against the backdrop of World War II in London appears a montage of Captain and Mrs. Walker meeting, their marriage, Captain Walker's deployment to parachute into Germany, and his capture and imprisonment in a Prisoner-of-war camp ("Overture"). Back in London at 22 Heathfield Gardens, Uncle Ernie delivers a care package to his pregnant sister-in-law just as two officers arrive to bring them the tragic news that Captain Walker is missing and presumed dead ("Captain Walker").

Believing her husband dead, Mrs. Walker has a new lover, and they celebrate her twenty-first birthday and discuss getting married together with now four-year-old Tommy. To their surprise, Captain Walker enters the house as Mrs. Walker and her lover embrace ("Twenty-One"). In shock, Mrs. Walker reaches out to touch him, but a fight erupts between Walker and the boyfriend. Tommy is watching the fight, and Mrs. Walker turns him towards the mirror in hopes of him not seeing the fight. Through the mirror, Tommy sees his father shoot dead his mother's new boyfriend. Mr. and Mrs. Walker embrace, but soon realise what Tommy has witnessed, and violently shake him, telling him he didn't see or hear anything ("What About the Boy"). The police arrive to investigate, while Tommy gazes at the mirror. A narrator (Tommy's older self) appears, visible only to Tommy, and invites the audience to witness Tommy's journey ("Amazing Journey").

1950: The Walkers take ten-year-old Tommy to church and host a family dinner ("Christmas"). Although they try to enjoy the party, they can't help but think that Tommy doesn't know that it is Christmas or understand its meaning. Everyone is stunned when Tommy responds to Uncle Ernie's playing the French Horn. Mr. Walker, in a desperate attempt to reach his son, shouts "Tommy, can you hear me?" multiple times. Older Tommy, only visible to young Tommy, sings to him. ("See Me, Feel Me").

The parents, at their wits' end and considering having Tommy institutionalised, compassionately confront one another ("I Believe My Own Eyes"). Tommy stares into the mirror as his mother tries desperately to reach him one last time ("Smash the Mirror"). Out of rage, frustration, and desperation, she shatters the mirror that Tommy continually gazed at for years. With the mirror in pieces, Tommy becomes conscious ("I'm Free") and leaves home.

On the night of the grand opening party for Tommy's holiday camp, teenager Sally Simpson manages to sneak out of her parents' home to attend Tommy's appearance. She gets on stage and tries to touch Tommy but in the commotion he unknowingly pushes her off the stage, she falls and is pummelled by the guards ("Sally Simpson"). Tommy, in horror, stops the show and tends to her.

Realising how caught up in the celebrity machine he is due to the remarkable recovery of his senses, Tommy wishes to do something in return for his fans and invites them all back to his house ("Welcome"). Once there, the fans grow and grow in size, though Tommy wishes to make room for one and all. Sally then asks Tommy how she can be more like him and less like herself ("Sally Simpson's Question"). He is confused, and insists that there is no reason for anyone to be like him, when everyone else already possesses the gifts that he was deprived of most of his life. He suddenly realises that although he had thought his fame came from his miraculous recovery, it in fact arose because others hoped he would assume the role of a kind of spiritual leader, based on his knowledge of what it is like not to hear, see, or communicate for so long. Now, disenchanted with their hero for failing to provide the answers they wanted to be told, the crowd turns on him and leaves ("We're Not Gonna Take It"). Tommy hears the voice of his ten-year-old self ("See Me, Feel Me") and for a moment, to the horror of his family, seems to be reverting to his old state. But instead he turns to his family, whom he has ignored during his stardom, embraces them in acceptance, and reunites with his younger selves ("Listening to You"). The entire ensemble joins him and his family on stage. After they all leave, the 4 year old Tommy, 10 year old Tommy, and adult Tommy dramatically end looking out in different directions.

The original 1969 album was much more ambiguous in its specific plot points. Originally, the song "Twenty-One" was called "1921" as the album version took place in a post-World War I setting. In the film, the story was changed to be post-World War II and the song was changed to "1951". In both the album and stage versions, the father comes home and kills the lover in the confrontation. Ken Russell's film made a reversal and killed Mr. Walker's character, having the lover then assume the role of a step-father to Tommy.

The film added a handful of new songs which were not on the original album and weren't retained for the stage production. For the 1993 Broadway version, Pete Townshend wrote a new piece called "I Believe My Own Eyes" in which the Walkers resign themselves to accepting Tommy's fate after years of trying.

The most fundamental difference in the story is the finale, which was rewritten in 1993. Originally, Tommy instructs his followers to become deaf, dumb, and blind themselves to find a heightened state of enlightenment. The crowd rejects this and turns on him. In the stage version, Tommy tells them the opposite: to not try to emulate him, but to rather live out their own normal lives. Upon hearing this message, the crowd still rejects him out of a desire to hear a bolder message from him.

Townshend, lead guitarist and songwriter for influential rock troupe The Who, already had a host of hit songs under his belt when he embarked on an experiment to expand the group's horizons by creating the rock opera Tommy. The bestselling album inspired an Oscar-nominated movie in 1975 and, in 1993, a Tony-winning rock musical helmed by McAnuff.

By the late 1960s, "I was out to change things with The Who, a lighthearted, colourful pop band who smashed guitars and wore pop-art clothing — that was our gimmick. But our lineage was that we grew up in a time of very serious R&B music that we latched onto in the U.K.," explained Townshend, who celebrates his 68th birthday on Sunday.

In the audio clip above, Townshend talks to Q about Stratford's updated Tommy (which opens May 30), dealing with success as well as scandal in his lengthy career and being an aging artist still creating new work. In the video, he discusses his affinity for Canadian fans and how Tommy resonates in the era of Justin Bieber.

Note: The CBC does not necessarily endorse any of the views posted. By submitting your comments, you acknowledge that CBC has the right to reproduce, broadcast and publicize those comments or any part thereof in any manner whatsoever. Please note that comments are moderated and published according to our submission guidelines. Céline Dion: bathroom diva extraordinaire by Jessica Wong Nov. 6, 2013 1:01 PM You may have sung in the shower this morning. Perhaps you were humming during your morning shave or as you put on makeup. Well, you're not alone. Even powerhouse divas like Céline Dion appreciate the great acoustics found in a humble washroom.

I came out of the Stratford Festival performance of "Tommy" in a state of shock - I was blown away. I immediately went into the Festival Store to buy a copy of the rock opera. All they had was the book of the music and librettos. I wanted to know how much of what happened on the stage was already written and how much was developed in rehearsal, so I went to Amazon and found Tommy:The Musical by Pete Townsend and ordered it. It gave me all of the staging information and background information that I wanted and more. Thank you

This showis one amazing show and the book just make you love it even more! Unlike other shows, Tommy is just so real and is just an amzing thing to see. I saw it when a Summer Stock did it and wow, I saw every show! You have to get this book if you love Tommy! If you are young you better get your parents permission cause this show is preatty inapporpriate!!

Roger Daltrey recently told Rolling Stone that The Who will launch their "last big tour" in 2015. There's also talk of a new album sometime next year, but as of now, their only planned release is deluxe edition of Tommy, which contains a new mix of the album, unheard Pete Townshend demos and a previously unreleased series of live recordings from the band's 1969 tour. (It hits shelves on November 12th.) We spoke with Daltrey about the legacy of Tommy, the state of his singing voice and his ongoing charitable work with Teen Cancer America.

We'd been influenced by our manager to make the three-minute pop song into something more. We did the mini-opera ["A Quick One While He's Away"] on A Quick One. Then we did another extended piece of music [on The Who Sell Out] called "Rael." That song used loads of backing and vocals – a real interesting piece.

When we went back into the studio, we just had a mediocre success with "I Can See For Miles." I thought that was was a brilliant single, probably one of the best we ever did. But with us being a singles band, it was wearing thin. Pete was getting worn down, sort've frazzled. Having to come up with hit singles all the time, that's the hard bit of the music industry. But coming up with music? That was much easier. Well, I don't know about easier. . . It was more artistically attractive to him.

So he came up with this idea of what life would be like if you had lived through just feeling vibrations. The idea was, "Imagine if you were deaf, dumb and blind. What would it be like to experience certain episodes of your life?" We had this one song called "Amazing Journey." That was the beginning of it. My recollection is that we recorded that song about a deaf, dumb and blind boy and the whole thing expanded from there. Basically, Pete went home after we recorded that and came back with other songs that gradually went together and loosely made the groundwork of what would become Tommy.

John Entwistle was asked to write about the dark side of things. There were dark characters like Uncle Ernie, which we did in fun at the time. I think everybody in their life has someone whose been kind've mischievous in that area. We always poked fun at it. John wrote that song and "Cousin Kevin," which was the spiteful one. People talk about Pete Townshend's Tommy, but it was really The Who's Tommy.

Well, for the first time after "My Generation" – when I got thrown out of the band – we'd done some very strange singles. "I'm A Boy" and "Pictures of Lily" – those were interesting songs. I think that "Pictures of Lily" is a great song, but they were very different in the vocal area than I was ever used to singing and I found it difficult. I was in a vocal no man's land. I started to improve with "I Can See For Miles," but I wasn't quite there.

We used to do forty minutes of other stuff before we even started Tommy! And at the end of that, we used to get into a free-form jam session where we would do all kinds of stuff, almost to the point where shows would extend to two and a half, sometimes almost three hours. What was extraordinary was we'd play the first bit and the audience would be a rock audience. But once we started playing Tommy, the audience would sit down. [Laughs] And when that first happened, we thought, "Oh shit!" [Laughs] It made you dig deeper as a performer, the fact they were sitting down. You had to dig deeper to get them up again. The whole thing had a very strange chemistry, but it just worked.

I was worried about it when we made the film [in 1975]. I didn't ever realize the difference between being what you would call a film star and a rock star. It was enormously different. It was very hard to deal with for a year or two after that. But ultimately, I was always determined to hang on to The Who through that whole roller coaster of a period. It was just crazy. People just treat you so differently and you go, "I don't want to be treated differently. I want to be in a rock band." It was hard. Just very, very difficult.

I always saw Tommy as a thing where everybody was Tommy. To me, the journey was inward. It wasn't in this world or of this world. It was what our potential is interiorly – spiritually. And that's what I liked about it. I liked that about the film in a way, too, even though it was kind've loosely based in this world. It was completely mad, and it grew on it's own canvas.

You've got to remember that from the early days of The Who all through the 1970s, I was having to scream just to hear myself. It was very, very difficult. I did my voice a lot of damage, but I toughened it up, too. We had to find a new way of working, because the volume was bringing Pete to his knees. His hearing was going, as indeed mine is now.

Fortunately, we found a way to deal with it. I started to wear the in-ear monitors, which cuts the stage volume way down. Everybody can work their own sounds perfect for them, instead of it being a war between the guitarist being too loud or the bassist being too loud. Drummers are always too loud. You could suddenly create your own world where you were always comfortable and you could always hear your own work as you were doing it. That made a huge difference to me as a singer. And it saved The Who. Well, it kept Pete and I together for the Quadrophenia tour. He could never have done it otherwise. None of us could.

Teen Cancer America has spring from my support from Teen Cancer Trust, which is what we've had in Britain for about twenty-four years. The idea is that the ages of thirteen to twenty-three is a completely different period of your life from being a child or an adult in medical care. It has nothing to do with medicine, but the fact that people want to be with other people of their same age. http://edufb.net/848.pdf http://edufb.net/704.pdf http://edufb.net/121.pdf http://edufb.net/881.pdf http://edufb.net/653.pdf http://edufb.net/28.pdf http://edufb.net/373.pdf http://edufb.net/99.pdf http://edufb.net/350.pdf http://edufb.net/311.pdf http://edufb.net/117.pdf http://edufb.net/803.pdf http://edufb.net/359.pdf http://edufb.net/293.pdf http://edufb.net/140.pdf http://edufb.net/929.pdf