The pivotal song was Amazing Journey. It became the center. That song tries to tell the introduction to Tommy. But as soon as I had written that I had the
shape for the piece.
- Pete Townshend
The central relationship in the story is between Tommy and Tommy so we created multiple Tommys on stage. Then the concept of the adult reaching the child became very valuable for the first act, and the idea of the child reaching the adult began to function in the second act. In fact, I think those of us who manage to stay spiritually alive have to keep the children in us alive.
- Des McAnuff, Director
Michael's initial two entrances are on wires. First he catapults up on top of the amoire and stands above young Tommy who faces the mirror. This sets up the mirror as a magical device. On the second entrance he tumbles in from high in the wings. Wayne Cilento had once as a dancer tumbled in from above doing aerial somersaults & the Foys were quick to embrace that idea for Tommy. This entrance literally sets up "Amazing Journey". Later in the act he appears in a white shaft of light through the mirrored surface, 20 feet above the stage on the truss work.
The importance of World War II for this family is undeniable, and the Wellington bomber serves as a symbol for the war through the entire play from the opening scene in the hanger where the Walkers meet. In the Christmas scene the play appears as a toy, and then again the bomber shows up huge as the back glass to a pinball machine. It becomes a collective image that builds in the audience mind.
John Arnone, Set Designer
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