Tommy Reunion Concert Rocked The House!!

I believe Jack Black said it best in introducing honorees Pete Townshend and Roger Daltrey on the “Kennedy Center Honors” program: “Thank you for blowing our minds and touching our hearts”. Those words express so accurately what the audience felt at the end of The Who’s Tommy reunion concert on December 15th, and what I still feel now, two weeks later. Thank you Donnie Kehr, and the entire original cast of The Who’s Tommy Broadway show, for making this experience possible.

ROCKERS ON BROADWAY

Rockers On Broadway was founded in 1993 by Donnie Kehr during the Broadway run of The Who’s TOMMY, in which he was appearing at the time. Inspired by his collaboration with Pete Townshend, Kehr created Rockers on Broadway, offering musical theater performers an opportunity to sing with a rock band in a concert environment - ultimately creating a raw energy and edge that could be transferred back to the Broadway stage. Kehr remarks, “It is our mission to bring together the worlds of rock ‘n roll and Broadway in a unique way, while supporting inspirational charities including Broadway Cares / Equity Fights Aids, Broadway Dreams Foundation and the Bachmann-Strauss Dystonia and Parkinson Foundation.”

On this 15th anniversary of the opening of “Tommy”, Donnie had the idea to reunite the original cast for this one-night-only event. And they were on board full force: Michael Arnold, Anthony Barrile, Bill Buell, Maria Calabrese, Victoria Cave, Michael Cerveris, Tracy Nicole Chapman, Paul Dobie, Jonathan Dokuchitz, Tom Flynn, Cheryl Freeman, Romaine Fruge, Jody Gelb, Christian Hoff, Todd Hunter, Paul Kandel, Donnie Kehr, Tracey Langran Corea, Lisa Leguillou, Norm Lewis, Marcia Mitzman, Lee Morgan, Alice Ripley, Sherie Rene Scott, Timothy Warmen, with national tour alum Destan Owens appearing for original cast member Michael McElroy. The show was produced by (see photo left) Cori Gardner, Donnie Kehr and Sandy Hicks.

Click here to watch a video of the cast of Tommy performing on the Tony Awards.

THE CONCERT

You could feel the excitement in the air before the show even began. We were all here to witness something special, and we were in good company: spotted in the crowd were Rick Elice (writer, Jersey Boy) whom I had the pleasure of chatting with before the concert; Anne Meara and Jerry Stiller, along with son Ben Stiller and his beautiful wife Christine Taylor; funny lady Caroline Rhea; John Ciarcia, Frank Vincent, Vincent Pastore and “Little Stevie” VanZant (who, I’ve heard, was so caught up in the moment that he was hugging people during the ovation!). And no one was disappointed.

The production was presented concert style with the cast and band on stage during the entire performance. Donnie Kehr started things off by introducing Des McAnuff, director of the original production, who read a letter from Pete Townshend, saying how sorry he was to miss the show, but he was performing in a “Who” concert - I guess we’ll forgive him. From the first notes of the overture, I knew we were in for a wild ride. The emotions of seeing and hearing this story told, with the use of projections and pictures from the original production, are indescribable. Watching David Bologna as young Tommy, sitting completely still and expressionless was heart-wrenching. And when Michael Cerveris ran on to the catwalk suspended above the cast, the power of this show became so obvious. I’ve heard it described as almost a religious experience, and that is truly accurate.

‘By the time Cheryl Freeman made her appearance as the Acid Queen, devouring the stage as if in contention for taking over Tina Turner’s crown, people were clapping along and screaming for each sustained note. In the midst of it, Freeman turned around and caught sight of a production still from 1994 projected on a screen above the stage. There she was in full costume—yellow dress hugging her body, and wig as boisterous as her belting voice—raising her arms up to the stage lights above her. Freeman paused tonight in the midst of her fury. She lifted her hands to the lights above her head, this evening topped off by a much more fashionable bob, and struck the same pose, watching her youthful self float across the projection screens. For a moment it seemed like she let the nostalgia take a hold of her. And we all went there with her.

Donnie, Des McAnuf and Christian, original production photo

Immediately following her number, the theater exploded. Not literally, but it may as well have when the song “Pinball Wizard” started. Christian Hoff and Donnie Kehr began the number and executed a full section of the original choreography by Wayne Cilento to rousing applause from the audience as the music swelled around us. By the time they finished the number, much of the audience was on its feet and for a moment the importance of theater was overwhelming: the way a theatrical experience can become so much more than a collection of performers, lights, and songs. It can become a shared experience, and a time capsule of emotion.’*

By the end of the show, the crowd was in a frenzy. We all felt that we were a vital part of this spectacular, phenomenal show. And in a way we were. When the applause finally ended, and the cast left the stage, the crowd spilled out onto 52nd Street. It seemed no one wanted to leave. The atmosphere was that of a huge, happy street party. Stars mingled in with the crowds, everyone smiling, everyone happy. And there, in his rightful place at the August Wilson stage door, was Christian Hoff, smiling, laughing, hugging old friends. And as always, staying until he was sure he had seen all those who wanted to see him. A gentleman always!

As my husband and I wandered down the street, not wanting the evening to end, I thought to myself “I would give anything to relive that experience.”

* rantingdetails.com
* pics from broadwayworld.com