Op 30 mei vond de première plaats van de nieuwe musicalversie van “Tommy”. Pete was aanwezig bij de gelegenheid die in Stratford, Ontario plaatsvond. De musical speelt tot 19 oktober.
Er zijn ook al enkele recensies online verschenen. De reacties zijn wisselend:
The Record.com schrijft: “It’s certain to be a huge hit this season and (..) it has been built to travel. Call me the Pinball Wizard if it doesn’t land eventually on Broadway! In his program notes, McAnuff says the intention was “to preserve the strongest elements from the original production” while embracing leading-edge digital technology. (..) The eye-popping digital technology might well be the star of the show”
Toronto Star geeft 4 van de 5 sterren. “Townshend’s work still has real power and the Stratford cast deliver it as though their lives depended on it. But too much of McAnuff’s staging now seems glib, busy and distracting. We want to touch the soul of the ’60s, not feel like we’re trapped in an ’80s rock video.(…)The audience cheered at the opening and many people will enjoy it over the summer, but those of us missing the sheer edgy passionate power of The Who at their best, will find it hard to settle for yet another McAnuff exhibition of signs and wonders.”
The Globe and Mail: “Tommy’s feelings of alienation and disconnect are definitely relatable in the Stratford Festival’s cold revival of this rock opera based on the 1969 concept album by The Who. It’s an impressively expensive but unfeeling production that will leave your emotions almost entirely untouched. (And you can forget about any healing.)”
LFPress zet vraagtekens bij de gebruikte technologie: “From the tsunami of sound that launches the show to the final curtain, McAnuff and a team led by designer John Arnone, never miss an opportunity to up the technical ante, filling Avon Theatre’s stage with such an impressive, dizzying array of video effects and technical wizardry that local drugstores will be doing a brisk trade in motion sickness medication — and yes, that’s a warning. (…) Sadly, that same technology conspires to keeps [Tommy] from touching us on any human level — and that’s what theatre is all about finally“