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Positive review of New Jersey Quadrophenia



Since I posted a negative review of this from alt.music.who, I figure I'll
be even-handed and post in full this positve review that Matt Kent has
posted at:
http://www.petetownshend.com/pr_display.cfm?id=283&zone=pr

'Quadrophenia' rocks on with energy, gusto

On the Boards By Ruth Ross Theater Correspondent

For theatergoers of a "certain" age, Pete Townshend and The Who are either
an acquired taste or stir youthful memories.

That said, it's "hats off" to the folks at Theater Under the Stars in West
Orange who have mounted a production of the rock opera "Quadrophenia" as
their inauguaral offering of the 2001-2 season. While the driving music is
demanding to sing and the many scene changes are challenging, the young cast
tackles it all with gusto.

In this stage adaptation by Gene. G. DeMaio, it's 1963, the height of the
riots between the rival youth gangs, the Mods and the Rockers.
"Quadrophenia" -- schizophrenia times two -- describes the multiple
personalities of alienated English teen Jimmy Cooper, who feels that he can
only achieve a sense of identity and meaning in life through his gang and
rock music. Is he the self-assured narrator, the drunkard Mr. Jim, the
fasion-conscious Dr. Jimmy, or the nerdy loser simply known as Jimmy?
Confused and rejected by everyone whose approval he seeks, Jimmy smashes his
scooter, turns to drugs and booze, flees to Brighton on England's southern
shore and entertains thoughts of suicide.

Director Leslie Potashner has staged this production in a spare manner
against a black curtain, with four video screens mounted high above to give
the audience a sense of the turmoil in Jimmy's soul. Scene changes are
effected by the use of rolling props -- there's even a motor scooter so
fondly favored by English teens of the period -- and the youthful cast
expends a great deal of energy moving on and off around the stage. June
Fino's Mod and Rocker cotumes add to the sense of deja vu, right down to the
Pucci-print chemise and go-go boots adorning the girls and short-jacketed
zoot suits favored by the male Mods. Of course, the Rockers' de rigeur
leather and chains add to the period authenticity.

The cast boasts some fine singing voices and performances, although at times
the working-class British accents -- not to mention some of the slang --
were difficult to understand. Zachary Leahy projected a narrator whose
exterior ironically belies the tortured soul beneath his confident mask.
Pete Barry, complete with long hair and drunken lear, did a fine job as Mr.
Jim, and the nattily attired Michael Miguel was terrific as Dr. Jimmy.

On stage front and center for the entire play, however, Mike Wnoroski was
marvelous as the nerdy loser Jimmy, a virgin anxious to change that status,
fighting with his dysfunctional parents, yearning to be accepted. His
first-class voice and hang-dog demeanor were perfect for the part. He was
especially touching when, upon returning to Brighton in search of
excitement, he finds his idol working as a bellboy and the beaches deserted;
summer's over -- something he didn't count on.

Brian Merrill was superb as Ace Face, Jimmy's ideal Mod, although why the
character stutters so badly is a mystery. Dan Giordano's Rocker, Godfather,
was appropriately menacing and mocking. Jimmy's Mod wanabe sidekicks --
played by Ed Dzamba, Tommy John Donaldson and Chase Levy -- were
appropriately loser-like.

The girls these guys pursue were protrayed as foul-mouthed, sex crazed
"birds" by Melissa Diaz as pill-popping Monkey, Jaime McMahon as the
bisexual Lily, and Megan Davidson as the blonde goddess Steph, so beloved of
Jimmy. These actresses seemed to have a fine time with their roles! And as
Jimmy's mum and later as the drug pusher Ferdy, Margaret Leone displayed a
fine singing voice and stage presence, although her accent was perhaps, the
most difficult to understand.

"Quadrophenia" is an ambitious undertaking for what is essentially an
amateur troupe like Theater Under the Stars, especially in light of their
usual fare of comedies and staple of American musical theater. By the looks
of the full house on opening night, it was a good move, perhaps bringing to
the theater people who don't go very often. Hopefully, they'll return for
other productions. To boot, Leslie Potashner has assembled a group of young
actors also new to TUTS; hopefully, the, too, will return and we'll be able
to witness their talent in subsequent productions.

At first glance, "Quadrophenia" will set and adult's hair on end, with what
appears to be a glorification of boozing, drugging and casul sex. That such
a life is as empty as a winter beach at Brighton -- think Wildwood or A.C.
in January -- is apparent by the end of the play, when Jimmy realizes he's
been chasing a dream and that "being accepted" means accepting yourself
first. Heavy, man.