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The Musical, Pete Townshend, Random House, 1996, 0099437414, 9780099437413

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The Musical, Pete Townshend, Random House, 1996, 0099437414, 9780099437413 Tommy: The Musical, Pete Townshend, Random House, 1996, 0099437414, 9780099437413, . DOWNLOAD HERE Light fantastic adventures in theatre, John Lahr, Feb 1, 1996, Biography & Autobiography, 381 pages. The theater critic offers his impressions of twentieth-century theater, including significant productions and the contributions made by dramatists and performers. Lifehouse , Pete Townshend, Jan 1, 1999, , 145 pages. Letting down my hair two years with the love rock tribe--from dawning to downing of Aquarius, Lorrie Davis, Rachel Gallagher, 1973, , 279 pages. High School Musical , Peter Barsocchini, Jun 21, 2007, Music, 96 pages. A shy, studious student and the captain of the basketball team secretly audition for the school musical leads.. High Noon , Phillip Drummond, Jun 26, 1997, Performing Arts, 96 pages. In this book, Phillip Drummond offers a detailed account of High Noon's troubled production context and its early public reception, along with career summaries of the key .... Official 1992 National Football League Record & Fact Book , National Football League, Sep 1, 1992, , 392 pages. Gathers records and statistics, summarizes each game of the season, and lists the current schedule. Tommy Dorsey Livin' in a Great Big Way : a Biography, Peter J. Levinson, 2006, Biography & Autobiography, 354 pages. Presents a biography of the American jazz trombonist, trumpeter and bandleader in the Big Band era.. The Beatles Sgt. Pepper's Lonely Hearts Club Band, Teresa Wimmer, Jul 1, 2008, Juvenile Nonfiction, 48 pages. Tells the story behind the Beatles' top-selling album, "Sgt. Pepper's Lonely Hearts Club Band," chronicling the group's rise to fame and discussing the major historical events .... San Francisco 49ers , Martin Jacobs, 2005, History, 128 pages. Frankie Albert. Leo Nomellini. Bob St. Clair. Jimmy Johnson. Joe Montana. Jerry Rice. Bill Walsh. Steve Young. Ronnie Lott. Hugh McElhenny. Joe Perry. John Henry Johnson. Roger .... Before I Get Old The Story of The Who, Dave Marsh, 1983, , 546 pages. Traces the history of the British rock band, the Who, and examines the development of the group's musical style. The Way In , Rita D. Jacobs, Apr 1, 2001, , 160 pages. For anyone who has ever wanted to keep a journal but felt intimidated by the prospect, or for anyone who has started a journal in the past, only to become stalled in the .... A Flea in Her Ear An Adaptation of Georges Feydeau's Boulevard Farce, Georges Feydeau, 1989, Drama, 108 pages. THE STORY: Although the adaptor has moved the action of the play into the twentieth century (which serves to heighten the sexual allusions which make the play so hilarious .... Pink Floyd Early Classics, Hal Leonard Corporation, Pink Floyd, 1990, Music, . inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James, Contact .... 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.
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