Why wasn't Tommy a huge hit???- Page 2

[henrikegerman]

Posted: 8/29/11 at 1:10pm

donte, in what sense was it "original?"

It was a widely popular album, a famous opera, and a successful movie decades before it was produced as a musical?

[best12bars]

Posted: 8/29/11 at 1:44pm

Pete Townsend claims he rewrote a substantial amount of the score for this production. I personally don't buy it. He may have rearranged and reorganized some things, but when I saw it, I don't recall much of anything that struck me as "new" as far as the music was concerned.

I thought it was terrific on Broadway (although, to this day, one of the LOUDEST musicals I've ever attended, and that includes Rent).

I've never understood why the Tony committee decided it was eligible for the original score award. It ended up tying with Kander & Ebb's Kiss of the Spider Woman.

And that, as they say, is show business.

[adamgreer]

Posted: 8/29/11 at 1:58pm

Well, he did write one completely new song. Which, incidentally, is (IMO) the best song in the show- I Believe My Own Eyes.

[ABB2357]

Posted: 8/29/11 at 2:01pm

I'm not a McAnuff fan, but TOMMY (one of the first Broadway shows I saw) was spectacular. The opener with WWII paratroopers hovering over the stage, the exploding pinball machine, and many of its other images are unforgettable.

Also, agreed with best12bars that it was one of the loudest shows ever. If I remember correctly, the lights didn't fade down at the start of act 1 as usual. They were suddenly turned off in time with the piercing guitar chord that begins the show. It was LOUD and the audience jumped out of their skin.

[madbrian]

Posted: 8/29/11 at 2:08pm

Without worrying about its inclusion in the original score Tony category, I think of Tommy as an original piece. It was conceived and written by Townshend to support an original story. It's not an adaptation of a book or a movie, it's not an adaptation of a movie in the sense that Wedding Singer or Legally Blonde is, and it's certainly not a jukebox musical. I consider it an original stage piece that took 30 years or so to get to the stage.

[henrikegerman]

Posted: 8/29/11 at 2:40pm

Except, Madbri, it had been on the stage 30 years before, just not as a "musical."

sorry, more like 20 years before, or 20 plus, both, in concert productions, The Who's and orchestrally, and then by Seattle Opera, among others.
Updated On: 8/29/11 at 02:40 PM

[best12bars]

Posted: 8/29/11 at 2:45pm

Well, as far as Tony categories, I definitely would have included it (as they did) in the Best Musical category, not the Best Revival of a Musical category.

But the score was not written for this production, save for a song or a new bridge or two. It was largely a 30-year-old score that had been recorded, produced on countless stages, and adapted for film prior to this Broadway incarnation.

Updated On: 8/29/11 at 02:45 PM

[henrikegerman]

Posted: 8/29/11 at 2:50pm

right, didn't mean to suggest I had a problem with it not being considered a revival for tony purposes. It had never been produced on Broadway so it was a new Broadway show, just took a long time to get there.

[Mister Matt]

Posted: 8/29/11 at 3:03pm

The stage production of Tommy was rather unique in its journey. It was a concept album not unlike Evita (but composed and performed by a high-profile rock group) that took a rather long and circuitous route to the stage. I thought its inclusion as an original score for the Tonys made sense. A lot of work went into the orchestrations and arrangements to make it work as a Broadway musical. It was definitely the loudest musical I've ever seen, but the music never overpowered the lyrics. The sound design and mixing was magnificent.

Interesting note: Tommy and Blood Brothers opened three days apart and closed six weeks apart. I didn't realize their runs were almost identical. I liked both shows better than Kiss of the Spider Woman and saw them multiple times while never having the urge to see Spider Woman more than once.

[SFFrontRow]

Posted: 8/29/11 at 3:45pm

I don't think the Tony Awards were modified to allow Tommy to compete in score, and I dont think the rules were changed because of it. The key was the interpretation of the source material. In order to be considered eligible for Tony Score:

A score must be written specifically for the theatre and must be original; compilations of non-theatrical music or compilations of earlier theatrical music are not eligible for consideration.

The score for Tommy was neither a compilation of non-theatrical music (e.g., the recent Rock of Ages) or a compilation of earlier theatrical music (e.g., the Best Musical winner Crazy for You).

It was music written specifically for that "vehicle" (albeit several years earlier and produced as a concept album by The Who and then as a movie).

This would not be any different than, say, Evita, Jesus Christ Superstar, Ragtime, Aida, Aida, Jekyll and Hyde (all concept albums before stage productions). Likewise, material in whole from another medium that ended up produced FOR THE STAGE VERSION OF THAT SAME STORY such as Lion King by Elton John/Tim Rice which was nominated (but did not win) for the Lion King, Beauty and the Beast and the Little Mermaid (which were all Disney movies before a life as stage musicals).

All of that music was known before they were on the Broadway stage and still qualified for the Score award and still would. Bottom line question to be answered is, were the music and lyrics writted FOR THAT STORY initially? If it was, then the prior lives in other does not disqualify the material from consideration.

As to the quality of Tommy The Musical, it was a hot ticket for a while (2 years is a good run), but the general consensus of the appeal to the majority of the long-run supporters was not that great (blue haired ladies were buying tickets for they children or grandchildren and not for themselves). It started to tap (or tried to tap) an audience that did not see legitimate theater as a source of rock/contemporary entertainment.

And one last point, the "dark" aspects of Tommy were no darker than Kiss of the Spiderwoman which took place in a South American prison with torture as a main plot point or Blood Brothers with the boys separated at birth and death ensues years later. A good year for musical theater pieces with strong subject matter but not the warm and sunny stuff of the matinee crowd.
Updated On: 8/29/11 at 03:45 PM

[Mister Matt]

Posted: 8/29/11 at 3:53pm

And one last point, the "dark" aspects of Tommy were no darker than Kiss of the Spiderwoman which took place in a South American prison with torture as a main plot point.

When involving a child, as much of the first act does, it's very different. I remember people walking out during Fiddle About, which was a much riskier scene (and creepier song) than prisoners singing The Morphine Tango. Blood Brothers was tragic, but not unsettling or creepy.

[winston89]

Posted: 8/29/11 at 4:02pm

Best12Bars, there were changes to the score if you compare the Broadway score to the one that is heard on the 1969 album. I will admit that they are VERY minor changes. But, Townshend did re write some lyrics. In fact the biggest re write of note is We're Not Gonna Take It. The original lyrics had the work end with Tommy insisting the decipiles join him. However, they eventually lift their hands in the air and say that they have had enough and walk out. In the Broadway version, Tommy tells them to ditch his religion and to be free on their own and that they aren't in need of him. They don't like what they are being told and eventually get up and walk out on Tommy.

[best12bars]

Posted: 8/29/11 at 4:57pm

I didn't say Townsend didn't change anything. I said they were minimal changes, just as you did. I was familiar with the concept album and the movie before I saw the Broadway show.

I don't think it merits consideration as an "original" score for the production. If nothing else, shouldn't at least 50 percent of it be new? I would hope it would even be higher than that. But one or two songs and some lyric changes throughout?

Obviously, the Tony committee didn't agree, and they allowed it.

Updated On: 8/29/11 at 04:57 PM

[greensgreens]

Posted: 8/29/11 at 5:07pm

1. I thought Cheryl Freeman was FABULOUS as the Acid Queen! Whoever said she was part of this production's issues must've caught her on a very off-night. Whatever happened to her anyway? Didn't she do Play On and maybe something else?

2. I agree with everyone who praised this production - especially the amazing opening sequence. Des filled the audience in on SOOOO MUCH without using a single word (well, save for the preacher). And it was just beautiful from start to finish.

3. I remember being so bummed when I saw that Marcia Mitzman (sp?) was going to be out. And then a lovely young lady raised her welder's mask and LA RIPLEY was born (at least for me). She blew me away that Weds afternoon - especially Smash The Mirror. When she later began to originate parts of her own, I was not surprised in the least and so glad I got to say "I remember her before she was popular"!

4. I cannot say enough about the orchestrations for this show. They were perfect - not too rock, not too B'way, not too pop. Just right.

I miss Tommy dearly, but like others, I just don't know how it would fare with a radically different production.

And does anyone still have that beautiful big hardback book that came out? That was one of my favorites, but I have since lost it.

[best12bars]

Posted: 8/29/11 at 6:20pm

Cheryl Freeman was excellent as the Acid Queen, as was the rest of the cast.

One of the big reasons this wasn't a megahit is the subject matter and story. Aside from the child-molesting theme not being "family friendly," it strikes an unpleasant chord in adult audiences as well.

I'm not knocking the show or its adult themes at all. But to think it would have automatic universal appeal is naive.

[Phantom of London]

Posted: 8/29/11 at 7:33pm

What did the critics make of 'Tommy'?

[Leia947]

Posted: 8/29/11 at 9:24pm

greensgreens, I still have that book. I have it packed away right now, but it's definitely a treasured possession of mine.

I thought Anthony Barille was brilliant as Cousin Kevin and am sad, aside from a few movies (especially one hysterical movie I love) I have barely seen anything more from him.

Also, at last years Broadway Flea Market, I heard a rumor that it might be revived for the 2012 season. But since I haven't heard much since, my hopes are lowering.

Updated On: 8/29/11 at 09:24 PM

[donte7162004]

Posted: 8/29/11 at 10:24pm

If there is a revival....I will be there!!! The original production should have lasted longer.....it was a wonderful show.....and in my opinion.....it should have played for much longer that it did...

[CurtainPullDowner]

Posted: 8/29/11 at 10:48pm

There was talk of a 10 year reunion concert. Some people I know from the original got calls about availability, but then it was decided that the Pete Townsend scandal was too fresh and it was dropped. Maybe they can do a 20 year next year.

[ghostlight2]

Posted: 8/29/11 at 11:25pm

There was a 15 year reunion benefit concert at the August Wilson with the full cast.

[CurtainPullDowner]

Posted: 8/29/11 at 11:50pm

Missed it.