July 2 - August 15, 2010
The Who's Tommy
Book by Pete Townshend and Des McAnuff
Music and Lyrics by Pete Townshend
Additional Music and Lyrics by John Entwistle and Keith Moon
Directed by Oanh Nguyen*^
Choreographed by Allison Bibicoff
Musical Direction by Mike Wilkins**
- 03/22/10 ARTICLE: Anaheim Hills News
- 06/09/10 ARTICLE: Broadway World
- 06/09/10 ARTICLE: Theatre in LA
- 07/01/10 ARTICLE: LA Stage Blog
- 07/06/10 REVIEW: Stage Scene LA
WOW! - 07/06/10 REVIEW: Orange County Register
- 07/06/10 REVIEW: Performing Arts Live
- 07/06/10 ARTICLE: Anaheim Hills News
- 07/07/10 REVIEW: Back Stage CRITIC'S PICK!
- 07/08/10 ARTICLE: OC Weekly
- 07/15/10 REVIEW: Stage Happenings
- 08/02/10 REVIEW: Broadway World
- 08/04/10 REVIEW: Stage and Cinema
- 08/10/10 REVIEW: Press-Enterprise
THEATER ARTICLE
"The Who's Tommy" coming to the Chance this summer
by Sarah Moreau, Anaheim Hills News
[ Link to Anaheim Hills News ]
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"That deaf, dumb and blind kid sure plays a mean pinball..."
Oh yes, those are lyrics from "The Who's Tommy" and they make me want to spin my arm in a Pete Townshend-esque guitar strum. Please, feel free to join in because the Chance Theater will be adding some serious rock and roll to your summer. "The Who's Tommy" has just been added to the 2010 season.
The Who is without a doubt one of the most influential rock forces of all time. This band has created some of the music that helped define the rock genre, and this musical embodies all the qualities that helped The Who attain rock god status. The original production garnered five Tony Awards on Broadway in 1993, and it's been remounted a number of times since then. But you're not going to want to miss this sensational new staging from the Chance that is sure to match the energy and power of last season's "HAIR: The American Tribal Love-Rock Musical."
I know what you might be thinking: What's the difference between going to a rock concert and going to a rock musical?
"Unlike a band situation where each song serves its own self-contained purpose, each song in a rock musical drives a larger narrative and has emotional and dramatic implications that go beyond just the notes and words," said Mike Wilkins, a musical director who most recently worked at the Chance on "Merrily We Roll Along."
Following the Ovation and LADCC nominated production of "HAIR", the Chance artists are ready to bring it again this July 2. Let me be the first to say that this is going to rock your socks right off your feet. Whether you come because you love "The Who" or because you love the Chance, you'll leave loving them both.
Information: 714-777-3033 or visit www.chancetheater.com.
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THEATER ARTICLE
The Chance Theater presents THE WHO'S TOMMY
by Broadway World
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The Chance Theater launches theatrical fireworks this Fourth of July weekend with the opening of the innovative rock musical The Who's Tommy, running July 2 through August 8.
The Who's Tommy is a roof-raising musical explosion based on The Who's 1969 concept album. This exhilarating story of hope, healing and the human spirit is filled with iconic hit songs like "Pinball Wizard," "See Me, Feel Me," "Acid Queen" and more. The Who's Tommy originated at the La Jolla Playhouse in 1992 before playing on Broadway for more than two years. The show won five Tony Awards, including Best Score for Who founder and guitarist Pete Townshend's memorable music.
"The entire company is very excited about presenting The Who's Tommy," said Oanh Nguyen, Chance Theater's Artistic Director. "After the success of last year's production of HAIR, we're bringing the artistic team back to tackle this beast of a musical. The Who's music is the definition of classic rock and remains as vibrant today as when the album was first released in 1969."
The cast for Tommy includes: Mark Bartlett (Tommy); Wendi Ann Hammock (Mrs. Walker); Kevin Cordova (Captain Walker); Paul Hovannes (Cousin Kevin); Beach Vickers (Uncle Ernie); Cameron McIntyre (Tommy, age 4); Seth Dusky (Tommy, age 10); Brynne McManimie (Sally); Clarissa Barton (Gypsy); Brian Bitner (Lover/Ensemble); Miguel Cardenas (Hawker/Ensemble); Kyle Cooper (Lad/Ensemble); Arroya Karian (Lass/Ensemble); Elena Murray (Lass/Ensemble); Melinda Porto (Harmonica Player/Ensemble); Kellie Spill (Lass/Ensemble); Seth Weiner (Lad/Ensemble); Joshua Youngs (Lad/Ensemble).
Performances
Preview
Friday, July 2
Opening Night/Press Night
Saturday, July 3 at 8 pm
Regular run
Sunday, July 4 - Sunday, August 8
Thursday, Friday & Saturday evenings at 8 pm
Saturday matinees at 3 pm
Sundays at 2 pm & 7 pm (Sunday July 4 at 5 pm)
Ticket Prices
$30 to $45
(Discounts for seniors, students, and military)
Information
(714) 777-3033
www.chancetheater.com
5552 E. La Palma Ave., Anaheim Hills, CA 92807
ABOUT THE CHANCE THEATER
Nominated in 2010 for six Los Angeles Drama Critics Circle Awards and six Los Angeles Stage Alliance Ovation Awards, Chance Theater is proud to be one of the leading ensemble based theatre companies in Southern California. Twice named "Outstanding Arts Organization" by Arts Orange County, Chance Theater is a recipient of the 2007 Los Angeles Drama Critics Circle's Polly Warfield Award for Excellence. Founded in 1999, the Chance Theater's mission has always been to intimately present personally meaningful, uniquely engaging stories that promote dialogue within our community and provide a visceral experience for theatergoers. As a constituent member of Theater Communications Group (TCG), Network of Ensemble Theaters (NET), and the Los Angeles Stage Alliance (LASA), the Chance continues to bring national attention to the Southern California, and Orange County, theater scene.
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THEATER ARTICLE
The Chance Theater presents THE WHO'S TOMMY
by Theatre in LA
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The Chance Theater launches theatrical fireworks this Fourth of July weekend with the opening of the innovative rock musical The Who's Tommy, running July 2 through August 8.
The Who's Tommy is a roof-raising musical explosion based on The Who's 1969 concept album. This exhilarating story of hope, healing and the human spirit is filled with iconic hit songs like "Pinball Wizard," "See Me, Feel Me," "Acid Queen" and more. The Who's Tommy originated at the La Jolla Playhouse in 1992 before playing on Broadway for more than two years. The show won five Tony Awards, including Best Score for Who founder and guitarist Pete Townshend's memorable music.
"The entire company is very excited about presenting The Who's Tommy," said Oanh Nguyen, Chance Theater's Artistic Director. "After the success of last year's production of HAIR, we're bringing the artistic team back to tackle this beast of a musical. The Who's music is the definition of classic rock and remains as vibrant today as when the album was first released in 1969."
The cast for Tommy includes: Mark Bartlett (Tommy); Wendi Ann Hammock (Mrs. Walker); Kevin Cordova (Captain Walker); Paul Hovannes (Cousin Kevin); Beach Vickers (Uncle Ernie); Cameron McIntyre (Tommy, age 4); Seth Dusky (Tommy, age 10); Brynne McManimie (Sally); Clarissa Barton (Gypsy); Brian Bitner (Lover/Ensemble); Miguel Cardenas (Hawker/Ensemble); Kyle Cooper (Lad/Ensemble); Arroya Karian (Lass/Ensemble); Elena Murray (Lass/Ensemble); Melinda Porto (Harmonica Player/Ensemble); Kellie Spill (Lass/Ensemble); Seth Weiner (Lad/Ensemble); Joshua Youngs (Lad/Ensemble).
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THEATER ARTICLE
Oanh Nguyen Brings The Who's Tommy to Anaheim's Chance
by Steve Julian, LA Stage Blog
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The trick to directing The Who’s Tommy for director Oanh Nguyen (Po Boy Tango at East West Players and others) is referring to the script - and only the script. “I’ve never seen the movie and I don’t intend to,” says Nguyen, who also co-founded the Chance Theater in 1999 and is its Artistic Director. “Maybe when the run’s over we’ll watch it as a cast. But, from what I hear,” he adds, “this show will be very different from the movie.”
The movie came out in 1975 and garnered Academy Award nominations for Ann-Margret (Best Actress) and Pete Townshend (for scoring and film adaptation). It followed The Who’s 1969 album that Townshend masterminded with songs that put a period on a decade that brought baby boomers through two Kennedy assassinations, a civil rights movement, Woodstock and a moon landing. Then Des McAnuff’s 1992 La Jolla Playhouse production ran on Broadway for over two years and garnered five Tony Awards including Best Score. So it begs the question: How do today’s 20-something actors put their own stamps on such an iconic piece?
For 20-ish Mark Bartlett, who plays the adult Tommy (there are two younger versions of him as well), “The Who was my favorite band throughout junior high school and Tommy was my favorite album of theirs. To make this mine, I just have to be myself. A lot of the role,” he says, “is being a rock star and, when I hear that, I just act like myself!” He laughs when he admits he indeed sees himself as a rock star. “To an extent,” he clarifies.
“After doing Hair last year,” says Nguyen (and after several LADCC and Ovation nominations, including Best Director and Best Season), “Tommy was an obvious choice for our ensemble. Plus, everyone here loves The Who and the album.”
But not everyone grew up with it. Brynne McNaminie is a 21 year old Cal State Fullerton senior who knew little of the album, the movie or the musical before auditioning. “I talked to my dad about it,” she says. “For him, it was a huge deal when it came out and he still knows all the songs. It was a big deal for my aunts and uncles, too, and they helped fill in the pieces.”
She thinks Nguyen is right for suggesting actors not make it a point to view the movie now. “I’ve seen a few clips, just to get the flavor of my character, but Oanh wants the audience - especially those who know the movie - to be surprised by the choices we make as actors. Besides, when you listen to the album, you really get what the story’s about.” The movie, she adds, would be a distraction.
And, in her case, her role is more pivotal than stage-consuming: Sally Simpson sneaks out of her house to see Tommy in concert toward the end of Act II. She gets on stage and tries to touch Tommy. He pushes her away and she’s beaten by security guards. It’s the moment when Tommy, caught up in his own celebrity, realizes the mistakes he has made in his adult life. He invites Sally back to his house where she asks how she can be more like him. His confusion over why she does not want to be merely herself leads him toward his redemption.
The tragic story begins, however, when a young woman in 1940 believes her husband has been killed in action during World War II. Already pregnant, she gives birth to Tommy and takes up with another guy. When her husband shows up a few years later, rescued from a Prisoner of War camp, a fight ensues between Captain Walker and the boyfriend. Mrs. Walker tries to protect her son but turns him toward a mirror through which Tommy sees his father kill the other man.
The parents violently shake Tommy (”What About the Boy?”) to drive home the fact he “saw nothing.” He shows no relief when his father is found not guilty of murder but becomes deaf and blind. The parents look for people to cure him - psychiatrists, physicians, even a prostitute who deals acid - but the only thing that revives him is the mesmerizing sounds and actions of a pinball machine.
Clarissa Barton (Forbidden Zone: Live in the 6th Dimension) says that prostitute, The Gypsy, convinces Tommy’s parents she can heal the boy. “Most of it is drug related,” Barton says. “I see this role as someone who’s ‘other worldly’ and has this presence and power to heal. She feels magical. And the song ['Acid Queen', popularized by Tina Turner] lends itself, I think, more to the drug culture than sex.”
As for putting her own stamp on the role, Barton says she first looked at what the woman wants. “Sure, she agrees to try to cure Tommy but she has her own needs, too, in terms of money and drugs. Vocally it’s interesting because I’m following after women like Tina Turner and Cheryl Freeman - women with huge presences and amazing voices. So how am I going to attack this?”
Barton had to stop listening to the album. She says. “I knew I wasn’t going to do a copy-cat version of them. But the song ‘Acid Queen’ mixes rock and soul, which makes me happy. Once I knew what The Gypsy wanted, I could figure out the vocal technique.” Barton grew up doing traditional vocals in musical theatre. “But when I write music, I do it in a rock style. Tommy is one of those musicals I’ve really loved because it’s from a rock album. It really hits home for me. And in this case, it’s been fun letting my singing and thoughts on the character influence each other.”
Tommy suffers a traumatic childhood, including being molested by an uncle (”Fiddle About”). But when Act II opens, he has become a pinball champion and favored kid in the neighborhood. He remains in a catatonic state, though, and the song “Tommy, Can You Hear Me?” is sung by his peers to no avail. They carry him home where his mother shatters the mirror through which a younger Tommy witnessed death. This breaks him out of his state and Tommy leaves home (”I’m Free”).
Director Oanh Nguyen says casting the adult Tommy was not all that difficult. “But we had a tough time finding the two little Tommy boys. They’re 6 and 11. That was an interesting process because of the subject matter. Plus, it’s a musical. We had to reassure their parents that the Acid Queen wouldn’t do anything too vulgar. Thankfully, both boys have been on stage before and they know each other. Cameron [McIntyre] and Seth [Dusky] are both adorable and professional.” It will help too, he notes, having their parents backstage during performances.
As for the rest of the cast, Nguyen adds, “It’s just finding the right balance and the right chemistry. We had a lot of great voices come out to audition, so we were lucky in that respect. But it’s a large cast - about 18 - and very challenging costume-wise. Everyone’s got six or seven changes. The whole show has been tremendously challenging, from the music to the narrative to the design elements. But we have the added bonus of using a new projection system thanks to a sponsorship.” That projector, Nguyen notes, will help to identify time and place “and images that’ll help us get inside Tommy’s brain.”
Nguyen chuckles when he admits Tommy is the first operetta he will have directed. “I’ve done a lot of Sondheim,” he says. “But those are more like plays with music. This is different.”
Different, too, is the cast. Barton is the only Chance actor in the production. The design team, however, is comprised of Chance members. “It’s been a big learning experience for them,” Nguyen admits, “because of the new technology we’re dealing with. Our audiences will have never seen anything like it here.”
There may be smoke and mirrors but they will not be there as a means to deceive anyone.
The Who’s Tommy opens July 3; plays Fri., 8 pm; Sat., 3 & 8 pm; Sun., 2 & 7 pm; through Aug. 8. Tickets: $30-$45. The Chance Theatre, 5552 E. La Palma Ave., Anaheim Hills; 714.777.3033 or chancetheater.com.
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THEATER REVIEW
The Who's Tommy
by Steven Stanley, Stage Scene LA
WOW!
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The Chance Theater tackles its most ambitious musical yet with The Who’s Tommy. Under Oanh Nguyen’s inspired direction, the resulting production is quite possibly the Chance’s most thrilling musical ever, topping even last year’s Hair for visual and audio excitement. With state-of-the-art sound, lighting, and video design and a couldn’t-be-better cast, The Chance’s The Who’s Tommy (quite a mouthful) achieves the nearly impossible. It replicates the rock concert/rock theater experience in a 49-seat house. Spectacle and intimacy in equal measure - I can’t recall another show quite like it.
For post-Boomers, here’s a bit of Tommy background.
The Who’s Tommy began its life as a 1969 two-disk concept album by The Who, which spawned several Top 40 hits including “Pinball Wizard,” “I’m Free,” and “See Me, Feel Me.” Composed mostly by Pete Townshend and featuring vocals by Roger Daltrey, Tommy was the first musical work to bear the now oft-used (and abused) name “rock opera.” Ken Russell’s 1975 film version starred Daltrey as Tommy and Ann-Margaret as his mother, and the stage version being revived here debuted at the La Jolla Playhouse in 1993.
In Townshend and Des McAnuff’s book, 4-year old Tommy sees his father, just returned from World War II imprisonment, shoot and kill Mrs. Walker’s lover, and goes “deaf, dumb, and blind” (though it is not until he turns 10 that he “sure plays a mean pinball.”) Tommy (The Rock Opera) follows Tommy’s journey through life, his celebrity as a “Pinball Wizard,” the eventual recovery of his sight, and his ultimate embracing of a normal family life.
Narrating Tommy’s story (and becoming Tommy himself in Act Two) is a terrific Mark Bartlett, combining looks and charisma aplenty with just the right rock pipes to do justice to Daltrey’s original vocals. Bartlett is a Cal State Fullerton BFA student, and in fact, many of Tommy’s 18-member cast are either currently enrolled in (or recent graduates of) musical theater programs at some of the Southland’s finest training grounds including CSUF, UCLA, and UCI. The result is a production with the same youthful verve that has made Green Day’s American Idiot one of Broadway 2010’s most talked about hits. At the same time, by casting the show’s older roles with age-appropriate actors, Nguyen avoids the “student production” feel that cast-too-young musicals can suffer from. This is musical theater at its most professional, and a production that can stand up against the best Broadway has to offer, albeit on a much smaller scale.
The adults in the company are Wendi Ann Hammock (Mrs. Walker), Kevin Cordova (Captain Walker), and Beach Vickers (Uncle Ernie), and they are all three splendid. Hammock and Cordova both have the vocal power and gravitas that their roles require, and Vickers is a hoot as dirty Uncle Ernie, his pedophilic “Fiddle About” alternately hilarious and squirm-inducing.
In three of the show’s most exciting performances, Paul Hovannes is a dynamic Cousin Kevin, his rendition of “Pinball Wizard” as thrilling as the best of them, Miguel Cardenas (Hawker) belts out a bluesy “Eyesight To The Blind,” and Kyle Cooper (Specialist) shows off his own killer pipes in “Go To The Mirror Boy.”
Among the ladies, there’s Chance Company Member Clarissa Barton adding her name to the illustrious list of divas who’ve sung “Acid Queen” (Patti LaBelle, Bette Midler and Tina Turner, to name just three) and holding her own against tough competition. Brynne McManimie stands out too as Tommy groupie Sally Simpson.
Then there are the kids, 6-year-old Cameron McIntyre as Tommy Age 4 and 9-year-old Seth Dusky as Tommy Age 10, both as cute as can be.
Completing the stellar ensemble are Brian Bitner, Arroya Karian, Elena Murray, Melinda Porto, Kellie Spill, Seth Weiner, and Joshua Youngs, who work harder than just about any group of triple-threats on stage this summer. Choreographer Allison Bibicoff keeps them all almost constantly in motion to the music, that is when their multiple-role tracks haven’t sent them quickly offstage to change costumes again and again and again.
Speaking of choreography, this is Bibicoff’s best and most exciting work yet, featuring dance steps that seem to be emerging organically from the music itself. The combination of 1940s, ’50s, and ‘60s costumes and Bibicoff’s cutting-edge choreography make for a heady mix.
Musical director Mike Wilkins on piano and keyboard and his stupendous backup band (Stephen Musselman on guitar, Robert Bowman on bass, and Jorge Zuniga on drums) sound like three times that many as amplified to rock concert perfection by sound designer Casey Long.
Christopher Scott Murillo’s first-rate set design replicates the rock concert look Tommy needs, and Erika C. Miller’s costumes are a dazzling blend of eras and styles, complemented by Julie Wilkins’ trendy hair and makeup design.
Finally there is KC Wilkerson’s lighting and video design, not only his best ever, topping even last summer’s Hair, but one of the most breathtaking blends of lights and video projections I can recall seeing.
Tanae Beyer is stage manager, Robert Hahn assistant choreographer, and Chance Dean fight choreographer.
When you realize that the 20somethings who first rocked out to The Who’s Tommy are now (like Townsend and Daltrey) in their mid sixties, there’s hardly a theatergoer too old for Tommy, and with a cast of early-20somethings on stage, this is a show that’s right for anyone old enough to appreciate rock music. If 2009’s Hair scored awards and nominations galore for The Chance, 2010’s The Who’s Tommy should do equally spectacularly when award season rolls around. This production proves once again that The Chance is has no equal in Orange County intimate theater. Oanh Nguyen and company have blown away the competition with this spectacular feat of theatrical entertainment.
The Chance Theater, 5552 E. La Palma Ave., Anaheim Hills. Through August 8. Fridays at 8:00, Saturdays at 3:00 and 8:00, Sundays at 2:00 and 7:00. Reservations: 714 777-3033 www.chancetheater.com
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THEATER REVIEW
'The Who's Tommy' rocks full tilt in Anaheim Hills
by Eric Marchese, OC Register
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Having turned 18 this year, "The Who's Tommy" may not be the newest rock 'n' roll musical around, but it's still one of the most vigorous and vibrant ever.
The proof is in Chance Theater's new revival, a dazzling display of the British band's singular rock score, sizzling singing, stylish dancing and technical sophistication – high-tech, yes, yet viscerally gutty.
Pete Townshend and Des McAnuff based the stage version on The Who's 1969 rock album "Tommy" (by Townshend) as well as on the 1975 film it spawned; both album and film became instant classics.
Reflecting all three sources (album, movie and stage musical), the Chance's production has a gritty, industrial feel far removed from the heady air of victory following World War II and the subsequent "feel-good" '50s.
In 1940, Captain Walker (Kevin Cordova) says goodbye to his young wife (Wendi Ann Hammock), then goes off on an RAF mission that lands him in a prison camp.
Months later, Mrs. Walker gives birth to the couple's first child, Tommy. Told her husband is missing and presumed dead, she takes a lover. Upon his return home, the recently freed Captain Walker discovers them in his bedroom. The men struggle, and Captain Walker fatally shoots the younger man.
The couple's problem: Young Tommy (Cameron McIntyre) saw the whole thing. His parents drill into the little boy that he "didn't see it, never heard it, never saw nor heard a word of it."
Tommy takes their orders literally, and from that day forward is deaf, dumb and blind. "Tommy" then follows his parents' futile efforts to find a medical explanation for his inability to see, hear or speak.
The Walkers leave their hapless son unsafely in the hands of various vicious relatives, including the sadistic Cousin Kevin (Paul Hovannes), who beats Tommy; drunken pedophile Uncle Ernie (Beach Vickers), who molests him; and, years later, The Gypsy (Clarissa Barton), an acid-dropping witch whose supposedly supernatural powers can restore sight and hearing to the blind and deaf.
"Tommy's" plotline, however, is mere window-dressing for some of the most fantastic rock songs ever strung together for the purpose of storytelling. "Eyesight to the Blind" is dark, smoky and sexy, boosted by Melinda Porto's bluesy harmonica. Barton's sizzling "Acid Queen" is electric. The show's closing songs put the hard-rockin', joyous glories of rock 'n' roll on full display.
Director Oanh Nguyen's leads offer powerful vocals. The comely blonde Hammock and supple tenor Cordova are credible as the young couple at their wit's end, and Mark Bartlett as the adult Tommy suits his vocals to each song – scorching for "Amazing Journey," high, reedy and delicate for "See Me, Feel Me," piercing for the ecstatic (and iconic) "I'm Free."
Nguyen and company have spared no expense, equipping their first-rate cast with superb musical direction (by Mike Wilkins), choreography (by Allison Bibicoff), lighting and video design (by KC Wilkerson), scene design (Christopher Murillo), costumes (Erika C. Miller) and sound (Casey Long).
Every inch of the staging is bolstered by every member of the cast and production team, from Robert Hahn's assistant choreography and Julie Wilkins' hair and makeup design to Chance Dean's fight choreography and ensemble member Brian Bitner's spot-on dialect coaching.
The production also sports some technological advances heretofore unseen at the Chance. Disneyland Technical Services and Elation, a global supplier of entertainment and theatrical lighting technology, have equipped the theater with LED fixtures, moving lights and full-motion video projections custom-designed for this staging. The results far outstrip anything the theater has previously done.
Wilkerson makes full use of this bag of tricks, with lighting that's alternately garish ("Sensation"), psychedelic ("Acid Queen") and fiery (the brightly kinetic yellow, orange and red strobes of "Pinball Wizard").
The rock score is rich and varied, and as this is opera, body language, gestures and facial expressions suffice for dialogue. And the cast's dancing does more than just create visual interest – it provides a cathartic release of energy that offsets Tommy's isolation.
The onstage band of Mike Wilkins (piano and keyboard), Stephen Musselman (guitar), Robert Bowman (bass) and Jorge Zuniga (drums) delivers a rock-concert level performance that's authentically Who in sound and feel.
Time and again, the Chance Theater has proven it's unafraid of the challenges (and risks) of large-scale musicals. Its "Tommy" is among the most impressive Orange County productions of the year.
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THEATER REVIEW
'The Who's Tommy'
by Mike Napoli, Performing Arts Live
[ Link to Performing Arts Live ]
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Boy did the Chance Theater ever nail this one!! This was my first musical at this delightfully intimate space and I was skeptical as to how well they would do with such an ambitious project. They delivered on all counts. With great skill and creativity they transformed their space into an ideal venue for this Broadway musical.
There are many exemplary performances by this outstanding ensemble cast. Of note for me were the vocals of Paul Hovannes (Cousin Kevin), Wendi Ann Hammock (Mrs. Walker), Kevin Cordova (Captain Walker) and Kyle Cooper (Specialist). Beach Vickers also delighted the audience as Uncle Ernie.
The set, lighting effects, video and sound were all top notch and made you feel as though you were right in the middle of the action. Musical director, Mike Wilkins and his musicians were outstanding in their presentation of such classic material. Congratulations Director, Oanh Nguyen, for taking this monster production and making it your own. Go see Tommy at the Chance and you will be glad that you did!
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THEATER COLUMN
Iowa trip reaps longing for the Chance
by Sarah Moreau, Anaheim Hills News
[ Link to Anaheim Hills News ]
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On a road trip in 2008 I found myself in a large hotel room in Southern Iowa.
The room was too big for the furniture, or lack of furniture. I had paid extra for a "suite," and in Southern Iowa that meant that I would have a bed, a chair, a dresser, a TV, a bathroom and approximately 400 square feet of empty space.
Unsure of what to do with this open area between the end of the bed and the television, I tried to spread my things out. I attempted to fill the empty space with my clothes separated into several small piles. But this accomplished nothing.
I looked out the window to see a wide open corn field. The tassels swayed in the wind. Some people might call it beautiful. City people might find it novel. I, on the other hand, was raised in the great state of Iowa.
My childhood was filled with corn fields. No, Kevin Costner, I don't think this is heaven. Feeling worn down from a cross-country road trip that had turned out to be far more stressful than I had imagined it could be, I looked at the wide open space of the cornfield, the wide open space of my hotel room, and feeling empty I turned on the TV.
It was a VH1 special about The Who. Music from "Tommy", and so many other albums filled the empty space of my hotel room.
Glancing out the window, the corn looked more like dancers swaying. Some might argue that artists are not contributors to society (for example, they don't build bridges or perform life-saving surgeries). However, sitting in that hotel room it became apparent to me that artists do more than we can ever give them credit for.
Artists create life-enriching experiences through music, dance, visual art acting and so many other forms. Artists, like Pete Townshend, write music that is true for him and for so many others. These are the people who give voices to our silent thoughts and dreams; and it is those voices that fill in the empty space. In Southern Iowa, tired and a little sad, this line of thinking led me home.
I missed the Chance.
The Chance Theater has a history of solid summer musicals – "Cabaret," "Into the Woods," "Sunday in the Park with George", "Evita" and, of course, the acclaimed production of "Hair." Consistently surpassing expectations, audiences have found themselves returning time and again to see what they'll do next. All Chance summer musicals are known for expertly crafted technical work, pristine music quality, and stories that are re-imagined as never before.
The summer musicals in the past received both audience and critical acclaim, but I guarantee "The Who's Tommy" is going to blow the rest of them away. The artists and staff at the Chance have raised the bar higher than ever before with this production.
The lighting and set design utilizes projectors and high-tech equipment that will lend to the sparkle of a large cast of 18 singers, dancers and actors. Directed by Artistic Director Oanh Nguyen, "Tommy" boasts a rock-and-roll story worthy of the most innovative thinkers who enjoy great music and dancing as well. Each summer these musicals play to full houses, so don't wait too long, or you may miss your "chance"!
Sarah Moreau submitted this column on behalf of the Chance Theater news.
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THEATER REVIEW
The Who's Tommy
by Les Spindle, Back Stage
CRITIC'S PICK!
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The music and narrative for this hard-driving rock opera originated in 1969 as a concept album by Pete Townshend and the Who. The album inspired two highly successful adaptations: Ken Russell's kitsch-filled 1975 film version—widely remembered as the movie in which Ann-Margret swam in a torrent of baked beans—and Des McAnuff and Townshend's Tony-winning 1993 Broadway show. Some of the subsequent regional stage revivals have tried to emulate the film and/or McAnuff's staging, seldom coming close to the visceral or emotional power of either. Director Oanh Nguyen's inspired take on the material captures the spiritual subtext of this moving fable while enhancing the experience with aural and visual panache.
Nguyen's ambitious rendition refuses to let the expected limitations of a small, modestly equipped performing space blunt the impact. Bolstered by equipment and expertise loaned from Disneyland Services and the theatrical lighting company Elation, the intimate Chance auditorium bursts into psychedelic life. Designed by KC Wilkerson, awe-inspiring projected images and dazzling conglomerations of moving lights augment scenic designer Christopher Scott Murillo's skeletal but well-conceived set in identifying the story locales and reflecting the turbulent psychological lives of the characters. Erika C. Miller's costumes and Julie Wilkins' hair and makeup designs add to the triumph of atmosphere. Mike Wilkins' music direction and Casey Long's sound design ensure that the superb score satisfies its high-octane rock-concert pizzazz, further bolstered by Allison Bibicoff's galvanizing choreography.
Yet the show can't thrive on technology alone, and the production is blessed with a shattering performance by Mark Bartlett as the grown-up Tommy, who surmounts psychosomatic deafness, dumbness, and blindness to become a pinball champion and a cult leader before learning the true values of life. Bartlett sings with passion and great force, earning our empathy for this beleaguered hero, giving added breadth to the minimal narrative. Young actors Cameron McIntyre (Tommy, age 4) and Seth Dusky (Tommy, age 10), give poignant portrayals. As Tommy's misguiding and misguided parents, Wendi Ann Hammock and Kevin Cordova are in fine voice and deliver compelling characterizations. Paul Hovannes is deliciously despicable as Tommy's bullying Cousin Kevin; likewise for Beach Vickers as the smarmy Uncle Ernie. Clarissa Barton has a splendid turn as the brassy Gypsy ("Acid Queen"), and Brynne McManimie is affecting in the small but interesting role of Tommy's devoted disciple Sally.
Presented by and at the Chance Theater, 5552 E. La Palma Ave., Anaheim Hills. July 3–Aug. 8. Fri., 8 p.m.; Sat., 3 and 8 p.m.; Sun., 2 and 7 p.m. (714) 777-3033. www.chancetheater.com.
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THEATER ARTICLE
Deaf, Dumb and Blind Theater
by Joel Beers, OC Weekly
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Anyone who has had the pleasure of experiencing a musical at the Chance Theater knows that the Anaheim-based troupe kicks butt in terms of staging sophisticated, grown-up musicals. Recent offerings of the Stephen Sondheim-James Lapine art-infused Sunday in the Park with George, the tribal rock-musical Hair and Sondheim's examination of political assassinations, Assassins, are fine illustrations of that fact.
So, it's a safe bet that the Chance's production of Tommy, the stage musical based on the Who's landmark 1969 concept album of the same name, should fire on all cylinders.
Oanh Nguyen directs the show, which is benefiting from a relationship forged between The Chance, Disneyland Technical Services and Elation, a global supplier of entertainment and theatrical lighting technology. Video projections and a killer lighting console should bring a visual flair to a show that is highly theatrical to begin with.
Combine the Chance's great pool of acting talent, a four-person band and the full genius of Pete Townshend's lyrics, and it should be quite a hoot. But, be warned: If you're a diehard fan of the album or Ken Russell's 1975 film version, you might be let down. When Townshend and Des Macanuff retooled the album for its Broadway run, they added a few tweaks near the end that tempered the ambiguity of the album, and the bizarre nature of the film. There's a palpable sense of championing family values in the musical, which drives Tommy purists crazy--for good reason.
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THEATER ARTICLE
The Who's Tommy
by Shirle Gottlieb, Stage Happenings
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Up front disclosure: I am not a child of the sixties and seventies, nor am I a fan of the ear-splitting music of that period. However (long pregnant pause), the quality of the Chance Theater's production of "The Who's Tommy" was so outstanding, it completely blew me away!
Written in 1992 by Pete Townshend and Des McAnuff, and based on "The Who's" 1969 concept album of the same name, this innovative rock musical rocked the rafters out of the small space The Chance calls home.
Never say "it can't be done" to director Oanh Nguyen. For the past ten years, Oanh and his superb theatrical troupe have taken "the chance" to create one miracle after another in their Anaheim Hills outpost. And now they've done it again.
The opening alone is worth the trip to La Palma Avenue. Thanks to the loan of advanced theatrical lighting from Disneyland and Elation, KC Wilkerson (light designer extraordinaire) was able to create special effects and video projections that set the scene for the drama to come. Reminiscent of old silent movies, not a word is spoken while the back-story of "Tommy" is projected on stage.
Then through the thunderous roar of five live musicians on stage (with Mike Wilkins at the keyboard and Stephen Musselman on guitar), an incredible ensemble rocks out the painful saga from 1941 through the seventies.
When we first meet Tommy he's four years old (Cameron McIntyre), then soon he's ten (Seth Dusky), before the plot turns him into an adult cult musician. Mark Bartlett is absolutely mesmerizing as the blind, catatonic guitarist who could hear nothing, see nothing, feel nothing, until he found the rock beat.
With an 18-member cast, it's impossible to give credit to everyone who deserves it. So kudos to the entire ensemble while we mention that Wendi Ann Hammock plays Tommy's mother; Kevin Cordova is his father; and Beach Vickers portrays his debauched Uncle Ernie.
You can't move that many people around on a small stage without choreography (Allison Bibicoff); nor can you present them without costumes (Erika Miller); not to mention the requisite sound design of Casey Long, a multi-talented, long-time Chance member.
At least half the audience will know the lyrics of such hits as "Pinball Wizard," "See Me, Feel Me," and "Acid Queen"; but even those who don't will be swept away by their power. After the overwhelming response to last year's production of "Hair," and the current production of "Tommy," who knows what The Chance will tackle next. Meanwhile, you have until mid-August to get rocked out of your seats.
"Tommy" plays at The Chance Theater, 5552 E. La Palma Ave., Anaheim Hills, on Fri at 8:00; Sat at 3:00 and 8:00; and Sun. at 2:00 and 7:00. Call (714) 777-3033 or on line www.chancetheater.com
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THEATER REVIEW
Chance Theater rocks out with "Tommy"
by Michael L. Quintos, Broadway World
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The idea of dramatizing a rock group's concept album isn't exactly a new phenomenon that Green Day's American Idiot can claim to be the sole example. Back in 1992 the La Jolla Playhouse mounted a new stage musical based on The Who's 1969 double-album (and the 1975 motion picture) Tommy, a rock opera with music and lyrics by Pete Townshend. One year after its La Jolla run, the show debuted on Broadway and played for more than two years, before subsequently becoming an often-produced show by various regional theater companies.
The latest to produce a full production of THE WHO'S TOMMY is The Chance Theater in Anaheim Hills, the little store-front black box theater that, over the years, have managed to do quite a lot with its small space. In this fast-paced, tightly-directed new revival, THE WHO'S TOMMY—with sold out performances extended through August 15—hits with the ferocity of a full-on rock concert and features a confident, spirited cast. And, in somewhat of a nice surprise, the show utilizes newer technology unseen (or unaffordable) in many smaller theaters.
The story is just kind of out-there enough to work for a rock-scored musical: The year is 1940, and the world is mired in the Second World War. A couple meet, fall in love, and get married. Unfortunately, Captain Walker (Kevin Cordova) must now depart London to join the war effort, leaving behind his very pregnant wife (Wendi Ann Hammock). She is soon informed later that her husband has gone missing and is presumably dead. In reality, the Captain has been captured and imprisoned in a Prisoner of War Camp. Mrs. Walker soon gives birth to a newborn son, Tommy.
Five years pass and Mrs. Walker has now taken on a lover (Brian Bitner), unaware that the Captain has been freed and rescued. The homecoming turns tragic, as the Captain and Mrs. Walker's new lover battle in a vicious fight. Hoping to shield her son from seeing the violence, Mrs. Walker forces her young son to face the mirror. Unfortunately, the mirror gives young 4-year-old Tommy (Cameron McIntyre) a front row seat to watch the murder of his mother's lover in the hands of his biological father. The Walkers, in a bit of panicked rage, shake Tommy violently, commanding him that he did not see or hear anything. The young boy literally takes it to heart: he is now deaf, dumb and blind.
10-year-old Tommy (Seth Dusky) continues through his adolescent years completely emotionless and silent, frustrating his parents to the point of seeking various methods and advice in desperation from several medical (and not-so-up-and-up) sources. Guided by visions of his older self (exciting newcomer Mark Bartlett) yearning to break free, Tommy remains quiet and emotionally blank to his increasingly dumbfounded parents. In the meantime, the young mute suffers through very tragic abuses from older relatives Uncle Ernie (Beach Vickers), who sexually molests him, and Cousin Kevin (Paul Hovannes) who, joined by his motley crew, bully and torture him. By the end of the first act, the now 17-year-old Tommy (now resumed by Bartlett) is discovered to have a knack for high-scoring with a pinball machine. Could this newfound "skill" help the mute boy break out of his self-imposed silence?
THE WHO'S TOMMY is a sung-through musical, in that every bit of dialogue and action is musicalized, hence its "rock opera" label. This may or may not turn off some who prefer traditional book musicals that offer breaks of spoken dialogue in between self-contained musical numbers. Some songs are more memorable than others, but its classic-rock significance certainly still holds. Only one song, the often repeated musical signpost... "See Me, Feel Me..." feels a bit grating now as the musical ages before our eyes (and ears).
While the story itself (written by Townshend and Des McAnuff) is by far this particular musical's weakest element, it is certainly enhanced a bit more here by director Oanh Nguyen's solid staging and secure vision. There's a tendency for his productions to have a creative tenacity that's lacking in other productions by smaller theaters... a trait that, in the long run, is much appreciated. It is also to his credit that the use of technical marvels be not a crutch to distract the audience from the flaws of the show, but rather help tell the story in a seemingly richer way. The professional moving lights, video projections and LED panels (provided by Disneyland Technical Services and Elation) help Tommy's world come to vivid life in such a way that has never been attempted in previous black-box productions this reviewer has seen. Aided also by a sturdy set designed by Christopher Scott Murillo, wildly dynamic choreography by Allison Bibicoff, and lighting/video design by KC Wilkerson, the whole show seems like it has been dropped inside a pinball machine, with the cast acting as busy objects that crash into immovable Tommy, shaping his journey. There is also a noticeably powerful surround sound system that harkens to being smack-dab in the middle of a thunderous rock concert (or, at the very least, a high-end THX®-equipped mini-theater).
However, the performers, more than anything else, do their valiant part to bring forth a good show. When performing together in group numbers, the ensemble is especially good, sounding and dancing as cohesive and harmonious as any touring company that has been together for a long time. Though some of the cast's affected British brogue range from slightly laughable to incomprehensible, they all still do an admirable job dramatizing the topsy-turvy events of the musical. As with all companies, there are a few standouts that elevate the production. As Mrs. Walker, Hammock is nicely cast and delivers her emotional role with a beautiful singing voice. A nice surprise is Hovannes as the sadistic cousin, who gives his role an effective raspy-rock musicality. The two child actors were also nicely controlled, letting the adults take the reigns of the show. And finally, as the title character, Bartlett excellently offers up a vulnerable and, later, triumphant portrayal of Tommy. Blessed with a nice strong voice and handsome features, it is quite surprising to learn that he is rather new in the musical theater scene.
Overall, the Chance Theater's production of THE WHO'S TOMMY offers up an interesting, entertaining mix of technical innovation, fairly vivid musical performances and commendable staging. This is certainly not everyone's cup of tea, but there is no denying that all involved in Chance Theater's revival has done an admirable job of taking this otherwise satisfactory musical show to an exciting new height.
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THEATER REVIEW
WITH A STUNNING ROCK CONCERT LIKE THIS,
WHO NEEDS A COHESIVE STORY?
by Tony Frankel, Stage and Cinema
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It was shocking to walk outside at intermission of The Who’s Tommy at the Chance Theater: the professionalism and high artistic achievement is so transporting that you will surely forget that you are in an industrial strip mall in Anaheim Hills. Don’t ever let the location keep you from experiencing a show at “Your Off-Broadway Theatre in O.C.”
The Chance thrives because they bring panache and clear-eyed vision to musicals with challenging structure, such as last season’s Merrily We Roll Along, which was the first production where George Furth’s cynical, bitter and (literally) backwards book made complete sense. The Chance’s work on straight plays is no less exemplary.
Tommy is a difficult musical to produce because, well, it’s not a conventional musical. Tommy is a concept: rock songs linked together by a common narrative with no dialogue. In fact, it was the first musical work explicitly billed as a rock opera when The Who released the album in 1969; ballet, concert, movie, and theatrical interpretations abound.
The powerful Chance production, directed by Oanh Nguyen, is based on Des McAnuff’s Broadway outing (which, although immensely popular in its 1983 run, still retains a perplexing storyline): for those who love their hard-driving rock delivered by a band on steroids, creativity, eye bedazzling imagery, fast-paced and well-placed direction, slick choreography and – especially – the most astounding lighting of a show EVER seen in a small house (in fact, there are more than 2000 cues!) get ready to have your expectations met.
The first fifteen minutes is storytelling at its best: It’s 1941 and Walker (Kevin Cordova) joins the RAF in England, leaving behind his pregnant wife, Mrs. Walker (Wendi Ann Hammock). When she delivers Tommy, composer Pete Townshend delivers my favorite melody from the show: “It’s a Boy.” Captain Walker is now in a P.O.W. camp but presumed dead, leaving Mrs. Walker to take up with a new lover. The war ends and Walker returns, only to find his wife in an embrace with her lover. A fight breaks out; in an attempt to shield Tommy from the mêlée, Mrs. Walker inadvertently places him in front of a mirror, in which he witnesses his father murdering the lover. Mr. Walker is exonerated in court, but the experience renders 4 year-old Tommy (Cameron McIntyre) “deaf, dumb, and blind.” If it’s cohesive narrative you want after this point, forget it.
The show explores Tommy’s rise to fame by plopping down sundry musical numbers, linked together by nothing more profound than the grooves of the album. That is not to say the songs don’t work – they do: poor Tommy is molested by his Uncle Ernie (Beach Vickers with “Fiddle About”), abused by his “Cousin Kevin” (Paul Hovannes), and Mr. Walker even takes 10 year-old Tommy (Seth Dusky) to a healer who turns out to be a heroin-addicted whore Gypsy (Clarissa Barton) who sings “Acid Queen” while surrounded by a very cool, leather-clad ensemble that looks nothing like 1951. And so on. Townshend is clearly going for “morality play” (exploring issues such as celebrity, trust, and power), but as a stage musical, the exposition is unwieldy. The book rarely clarifies “who,” “what,” and “why.”
This is why director Nguyen so impressed me: he celebrates the famous rock numbers (“Pinball Wizard,” “See Me, Feel Me,” “Tommy, Can You Hear Me?”) with dynamic invention; this is a rock concert with excellent acting all around (most notably Vickers’ vaudevillian Uncle Ernie, Hovannes’ Cousin Kevin (perfectly punked-out by costumer Erika C. Miller), and the grown Tommy (Mark Bartlett)).
It’s amazing what is accomplished on a simple set, beautifully rendered by Christopher Scott Murillo. The staging (using little but a steel gurney, some chairs, and a two-way mirror) was no less impressive than the turbo-charged choreography (Allison Bibicoff). The musicians staggered me: Jorge Zuniga on drums, Robert Bowman on bass, Stephen Musselman on guitar, and the highly impressive Mike Wilkins on keyboards. Please note that they do play quite loud (the theatre even sells ear plugs) and the actors without a mike sometimes sounded better than their miked counterparts; but, come on, dude … it’s a rock concert.
The stars of the night are Sound Designer Casey Long and the extraordinary light show by KC Wilkerson (the equipment is on loan from Disneyland Technical), utilizing full-motion video under the control of the lighting console. You must see this dazzling display of psychedelic projections, moving lights and LED fixtures.
Even though this production of Tommy is a little tough for some of the vocalists (and the book may frustrate), it is sure to become a standard-bearer for equity-waiver houses in the field of direction and technology.
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THEATER REVIEW
The Who's Tommy
by Ben Miles, Press-Enterprise
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“The Who’s Tommy” is a rock opera based on The Who’s now classic 1969 double album, “Tommy.” But, it wasn’t until 1992 that The Who’s front-man, Peter Townshend, coupled with theater impresario Des McAnuff to stage this opulent “popera” at San Diego’s La Jolla Playhouse. Nine months later the show debuted on Broadway, playing nearly 1,000 performances—and garnering 5 Tony Awards, including one for Best Score. In 2008, the original Broadway “Tommy” cast reunited for a one-night-only benefit concert at the August Wilson Theatre, in New York City.
Currently, OCers (as well as residents and visitors from surrounding areas) have the rare opportunity to experience a magnificent production of “The Who’s Tommy” at the acclaimed Chance Theater, through August 15. Spectacularly directed by Oanh Nguyen, “Tommy” is a sprawling story spanning the 1940s, 50s, and 60s—in the unlikeliest of intimate theater spaces. With exciting choreography by Allison Bibicoff, as well as a live and lively 4 piece band—led by Mike Wilkins—we get the sordid tale of “that deaf, dumb, and blind boy” for whom The Who titled both their vintage vinyl recording and their musical extravaganza—that singular pinball sensation, Tommy Walker.
Tommy’s father, Captain Walker (a capable Kevin Cordova) was an officer in the Royal Air Force during World War Two. Shot down in fierce battle—amazingly rendered in KC Wilkerson’s video and lighting design—and taken prisoner by the German Army, Captain Walker missed Tommy’s infancy and toddlerhood entirely. When Captain Walker at last returns to his English home, he finds his once devoted wife (a sentient Wendi Ann Hammock) in the embrace of another man. A vicious fist-fight ensues (kudos to fight choreographer Chance Dean) and the interloper is pistol-shot by Captain Walker. Tommy is witness to the violence, but seems somehow unmoved by the deadly event. Captain Walker is sent to trial. It is during these proceedings that Tommy’s multiple disabilities are recognized.
We see Tommy’s evolution from a child to the pinball folk hero he is destined to become. (Cameron McIntyre, and Seth Dusky play Tommy at ages 4 and 10, respectively—while Mark Bartlett lends body and soul to the grown-up Tommy.)
With a cast of 18 performers belting out over 2 dozen of The Who’s best tunes, “Tommy” is a symphony for the senses. Not only do we empathize with Tommy’s plight—including the peer cruelty and medical diagnosis processes he endures and surmounts—we also see a line-up of the most unusual characters this side of a Bizzaro comic strip.
There’s peculiar Uncle Ernie (Beach Vickers’ song and dance displays as Ernie are a laugh-fest, especially the loony “Tommy’s Holiday Camp”).Moreover, Cousin Kevin’s warped world-view is cleverly assayed (by Paul Hovannes) in the dual ditties “Tommy Can You Hear Me” and “Cousin Kevin.”
Like the archetypal pinball machine, this “Tommy” is full of theatrical bells and whistles, and though the production is not without flaws—the vocals are over-miked and the singers are sometimes inarticulate—the story never loses momentum, is always accessible, and is often rousing. And when Bartlett gives voice to the moving “See Me, Feel Me” we receive all its poignant power. What’s more, the company’s version of Pinball Wizard” is rhythmically contagious, as is Melinda Porto’s solo harmonica playing.
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PATRON REVIEWS
Just keeps getting better and better!!!!
posted by Marnie Ceporius on 8/4/10
My third (3rd) time and it just keeps getting better and better!!!!
I am PROUD to be a sustaining member
posted by Michele Volz on 8/3/10
This little theater is amazing!!! Top quality shows, a diverse group of actors and fabulous light and sound effects. I am PROUD to be a sustaining member...
Kudos to your director and high energy cast!
posted by Joe Merkel on 8/1/10
I have seen Tommy a couple of times and your presentation of the play was easily the best. The actors that played Mr. and Mrs. Walker were exceptional. I liked the energy of the entire cast and all had great voices. The creative use of special effects and video just enhanced my experience. Kudos to your director and high energy cast!
I wish I could see it again
posted by Nancy and Jasmine West on 7/27/10
The show was spectacular. I wish I could see it again. It is amazing how such a small area can feel so epic. I am stunned by all of the tallent that went into puting this show together. I am deffinately a chance fan. I can't wait to see the next performance.
Even better than I expected
posted by Robin on 7/26/10
The show was even better than I had expected. The acting, singing, choreography, lights, live music, set and especially the cast's positive energy were unsurpassed. I didn't think anything could have been as good as Hair was last year but this definitely was a surprise!
On a par with London and Broadway theater
posted by Scott on 7/26/10
Quite simply one of the finest theater experiences I have had in local theater. On a par with London and Broadway theater. The direction, technical aspects, and all of the individual performances were outstanding. To see a GREAT BIG production in a small space puts you in the middle of the action, and there is plenty of it in this show! It was like sitting on stage with the actors. The projections and lighting design are Tony worthy. Do I need to say more? FANTASTIC!
Absolutely amazing!!
posted by Bob & Linda Bugbee on 7/23/10
We saw the play "The Who's Tommy" tonight, it was absolutely amazing!! The actors were great with wonderful voices!! Thank you for constantly presenting great plays!! A memorable evening!!! Thank you!!!
I left wishing it would never end
posted by Jim on 7/19/10
I came expecting the usual struggling actors doing their best. I left wishing it would never end. The most fantastic production I've seen in a very long time. Outstanding vocals, choreography, directing and special effects.
Heartfelt kudos to all involved
posted by Steven H. Hirsch on 7/16/10
The excellence of this production is well-described in all of the published reviews. I'll only add this: As artistic director, Oanh Nguyen only continues to grow. I thought last summer's production of "HAIR" was as good as it gets. I was wrong. The choreography, the vocals, the casting, the technical innovation, the music, the costumes -- all of it -- combine to work a magical transformation on this 49-seat space in a nondescript La Palma Avenue strip mall. Heartfelt kudos to all involved.
Nothing short of awesome!!
posted by Nicki Gerdes on 7/13/10
The theater is so intimate, comfortable and friendly. What a fantastic, talented, carismic cast!! The band was incredible and really rocked the house!! This production was nothing short of awesome!! I'd see it again in a minute if I could!!
Fantastic
posted by Reon Boydstun Howard on 7/12/10
I thought the production was fantastic! The live music and the cast really made the show come alive!
Spellbinding
posted by Barbara Covell on 7/12/10
I love The Who's Tommy and this one did not disappoint. I had never been to the Chance theatre. It is a tiny theatre that delivered a huge production. The music, singing, dancing and lighting effects made the evening spellbinding. I recommended it to my Facebook friends.
Lots of energy and presence
posted by Kelly on 7/12/10
Excellent show! Lots of energy and presence.
Left me breathless
posted by Jim McManimie on 7/12/10
Absolutely an amazing performance. I am a huge fan of local theatre, this performance left me breathless. I will be back. Thank you.
It was two hours of total enjoyment
posted by Eileen Garbutt on 7/12/10
Tommy was terrific! I am so glad I brought friends to see it with me. It was two hours of total enjoyment.....the music, actors, voices. The young man who played Tommy was exceptional!
This was the best production I've seen so far
posted by Gayle McQuown on 7/12/10
I thought this was the best production I've seen so far. It resembled a broadway production. The energy the actors had was remarkable. I truly enjoyed attending the play yesterday. The article in the Register newspaper raved about the performance, and I can see why.
I had never seen Tommy - loved it!
posted by Veronica Price on 7/12/10
Fantastic show!!! I had never seen Tommy - loved it! My husband saw it on Broadway in the 90's and said your staging and performance compared favorably. Great job!!
Outstanding!
posted by Ed Schrenzel on 7/12/10
I thought that "Tommy" was outstanding. The cast was first-rate, the band was great, & the special effects were wonderful. I'd highly recommend it except for those who might be offended by the abusive way that Tommy is treated as a boy. But others should find it a wonderful musical experience!
Loved this production!
posted by Autumn Browne on 7/12/10
Loved this production! From the first note I was engaged. Could have sworn there was a full orchestra, but the program lists only four people. The Acid Queen's solo was a showstopper! The choreography left me breathless. Great costumes, set, lighting. The Chance NEVER disappoints!
Really great!
posted by Cheryl Wagner on 7/12/10
This show was really great! It was our first experience with the Chance Theater and definiely won't be our last. The performances were excellent, the lighting and special effects were amazing and the stagecraft was very imaginative. It's an intimate setting which was a plus as well.
Wow - what an experience!
posted by Will & Laura Young on 7/7/10
Wow - what an experience! As people who heard the music when it first came out and saw the movie, we have to say that this was a powerhouse performance by the actors, technicians and creative team. It was, of course, a rockin' good time, but the story itself was conveyed so convincingly that I found myself emotionally connected. Don't miss this musical -- you won't regret it for a minute.
Tommy is brilliant!!!
posted by Marnie Ceporius on 7/7/10
First it was Cabaret, then Sunday in the Park, then Evita, last year Hair. You keep topping yourselves. Tommy is brilliant!!!
An amazing re-creation of the sound of The Who
posted by Manny Porto on 7/7/10
The Chance Theater production of Tommy exceeds any expectations for a regional theater production. The music was simply an amazing re-creation of the sound of The Who. The staging, and particularly the visual effects, was an extraordinary example of what can be accomplished with a great creative team. As for the company, they are a superior group of talented actor/singers with a nice balance between seasoned vets and up and coming collegiate talents. Stand outs from the ensemble include the Hawker and Harmonica player leading up to the Acid Queen show-stopping number. Cousin Kevin was amazing and Uncle Ernie creepy and hilarious, often at the same time. Captain and Mrs. Walker were constant professionals and all three Tommy's were fantastic All in all, you couldn't ask for a better night at the theater. The Chance is the best kept secret in Orange County theater!
Totally mesmerized
posted by Heather Young on 7/6/10
I knew very little of the history, or even the music of The Who's Tommy when I went to see it July 3rd. I'm a fan of the Chance and have high expectations of their shows, but Tommy surpised even me. I could hardly breathe for the first 10 minutes and was totally mesmerized. The cast is amazing, the lighting and projections mind-blowing and the rockin' music made you want to yell for more. This show has taken The Chance Theater to another level and I'm honored to be even a small part of it!
Excellent
posted by Rita Joyce on 7/6/10
The performers were, as always, excellent.
