See me, Feel me – The Who’s Tommy at Open Circle Theatre (review)
The return of Open Circle Theatre is marred by an unfocused, subpar Tommy
AFTER A LONG HIATUS, Open Circle Theatre returns with an ambitious if unsuccessfully realized production of The Who’s Tommy (
). As Washington’s first professional theater company dedicated to integrating the talents of artists with disabilities, Open Circle opted to stage a show about a metaphorical “deaf, dumb and blind kid,” by casting a deaf actor as the lead. Russell Harvard (Deaf West’s Spring Awakening) has a commanding stage presence, even when he’s hovering around the stage pensive but expressionless — a frequent occurrence in the overly long first act.
Harvard splits the role with singer Will Hayes, though the former, communicating in American Sign Language, always takes the lead. Throughout the show, several actors use ASL and it cleverly becomes the central choreography; it’s used to particularly strong effect in the show’s only truly moving number, “Finale.”
“See me, feel me, touch me, heal me,” the huge cast of 25 sings and signs repeatedly. It’s a moment that, if it were in service of another musical would have floored the audience with its spirit of love, harmony and diversity.
But Tommy is a weird and woolly show at its core, with some confusing, poorly explained developments in the book by Pete Townshend and Des McAnuff. Open Circle’s unfocused production only makes it harder to comprehend what all the storyline fuss is about. Suzanne Richard has stocked the show with a number of experienced local actors, yet many are uncertain about the right portrayal to give and others are simply miscast.
Further complicating the situation, choreographer Jen Bevan, working with Dance Exchange’s Matt Cumbie and Cassie Meador, was either unable or uninspired to get every actor on the same page, as they fail to perform group numbers in tandem or even with the same degree of enthusiasm.
So it goes with most every other aspect of the production, from Jesse Shipley’s ill-fitting and drab costumes to sound designer Edward Moser’s struggle to prevent feedback and fuzz. Even Jack Null, the Helen Hayes Award-winning music director (Constellation’s Avenue Q), seemed to have difficulty during a recent show to keep his fully amped five-piece band in sync. And unless you’re a Who fan, the music itself, with a few exceptions (including, obviously, “Pinball Wizard”), isn’t likely to inspire you either.
Still, it’s good Open Circle is back up and running. We’ll just hope their next outing is better.
Tommy runs to Nov. 20 at the Silver Spring Black Box Theatre, 8641 Colesville Road, Silver Spring. Tickets are $30 to $45. Call 240-683-8934 or visit opencircletheatre.org.
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