Review: Tommy presented by Epsom Players

Tommy

Epsom Players

Epsom Playhouse

Reviewed by Tony Flook

With well over 30 musical numbers and virtually no dialogue, The Who's Tommy clearly belongs to the small, vibrant genre of rock opera.

It is not an easy show for any society to stage but it would be difficult to fault almost any aspect of Epsom Players' production, directed by Damien de Roche.

The unlikely yet, at times, moving and, ultimately uplifting story follows Tommy, who is traumatised and becomes deaf, dumb and blind at the age of four but who goes on to win fame as Pinball Champion.

He achieves celebrity status and a host of devotees when he dramatically regains his faculties but both he and his fickle followers become disillusioned and he finally opts for the simple life.

To be credible, there have to be three Tommys, representing him at different stages of his life. Adam Stubbs playing our hero at four and Sam Wilson playing him at 10 both showed maturity above their real life ages of seven and 10, always totally unresponsive as the role requires, despite the character being abused, bullied and coaxed by various adults. It will be interesting to watch these talented youngsters as they develop.

Jack Davies showed total command with a compelling performance as the adult Tommy, always moving easily and bursting out of his self-imposed isolation with I'm Free.

Amy Putt and Danny Willis, the parents, showed their unfailing devotion to their passive son and combined perfectly for I Believe My Own Eyes.

Don Brown made Uncle Ernie a creepy pervert who would never have passed the Criminal Records Bureau check and certainly not to be trusted to with children. Poor Tommy also suffered at the hands of the thuggish Cousin Kevin, given a swaggering cameo by Darren Flick.

Although Carys Palmer brought out the Acid Queen's gypsy characteristics, her singing voice would have benefited from a little more gravely hardness.

Choreographer Claire Izzard made Pinball Wizard a fitting finale to Act 1, leading with a trio of Teddy Boys then swelling to an impressive set piece.

On stage cameraman Mark Neal brought immediacy and impact to the scene where Tommy explained his philosophy to his disciples.

Stage manager Sarah Wood and her perfectly co-ordinated crew ensured that the many location changes barely interrupted the action.

Musical director Colin Warnock interpreted the driving spirit of the show and guided the vocalists on the rare occasions they needed it.

Non-professional theatre does not come better than this.