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- <text id=93TT0148>
- <title>
- July 12, 1993: Pete, We Can Hear You
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1993
- July 12, 1993 Reno:The Real Thing
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- SHOW BUSINESS, Page 55
- Pete, We Can Hear You
- </hdr>
- <body>
- <p>Who's afraid of getting old? With a Tony for Tommy and a terrific
- new album, Pete Townshend is in his prime.
- </p>
- <p>By JANICE C. SIMPSON
- </p>
- <p> By the time he was 24, Pete Townshend, the guitar-spinning
- auteur of the seminal 1960s rock group the Who, had secured
- a permanent place in the annals of pop culture. His song My
- Generation, with its juvenescent proclamation, "Hope I die before
- I get old," had become the anthem of the Woodstock era. And
- his "rock opera" Tommy, about an abused child who liberates
- himself by becoming a pinball wizard, had been adopted as the
- definitive parable of its time by every would-be rock rebel
- with a cause.
- </p>
- <p> Fast-forward more than two decades. Townshend, his hairline
- receding and his temples gray, is now well into middle age (48)
- and surviving it very nicely, thank you. An eye-popping, updated
- production of Tommy is currently the hot ticket on Broadway,
- having last month earned Townshend a Tony for best score. And
- Townshend has just released Psycho Derelict (Atlantic), a brand-new
- concept album that, through a mixture of narrative dialogue
- and thematic songs, tells the story of Ray High, an aging rock
- star who attempts to stage a comeback. Like Tommy, the new work
- is part autobiography, reflecting Townshend's concerns about
- the burdens of celebrity, the power of the media and the struggle
- for artistic integrity. "I never really ever wanted to be a
- celebrity," he explains. "And I constantly try to work out how
- it occurred."
- </p>
- <p> The 11 songs on the new album are nifty. Tracks like the dynamic
- opener, English Boy, showcase Townshend's talent for mixing
- metaphysical lyrics with hyperphysical music. The dialogue,
- presented in the style of a radio drama and performed by actors,
- wears out its welcome more quickly. But the dramatic format
- appeals to Townshend, whose love for the theater dates back
- to boyhood memories of watching from the wings while his musician
- parents performed in British music halls. "I'm proud of the
- way PsychoDerelict works as an oral piece," he says. "It's
- not to everybody's taste, but I knew that wouldn't be the case."
- </p>
- <p> Starting this week Townshend takes the 63-minute work on tour
- to six cities, ending with a concert in New York City that will
- be carried nationally on pay-per-view TV.
- </p>
- <p> Whatever the response to the new work, the success of the Broadway
- production of Tommy has made Townshend hip again. Over the years,
- there have been symphonic performances and dance interpretations
- of Tommy as well as the flamboyant 1975 film version, directed
- by Ken Russell. But the Broadway version marks a special coming
- of age for the work and its creator. "I've been waiting for
- this for a long time," Townshend says. "I felt I only had one
- more opportunity, and it had to be the right guy and the right
- place."
- </p>
- <p> He found both in Des McAnuff, artistic director of California's
- La Jolla Playhouse. McAnuff's staging, which opened last summer,
- quickly sold out and prompted the move to Broadway in April.
- Baby boomers who aren't traditional theatergoers are queueing
- up for seats and rocking in the aisles. "There's a hunger in
- the rock audience," says Townshend. "When you're my age and
- you want to go to a concert, you think very hard about whether
- it will be a relaxing experience or a disturbing one. So you
- tend to go to the movies, to restaurants. You don't go and watch
- rock-'n'-roll shows. A lot of people are looking for a doorway
- into the theater."
- </p>
- <p> Old Broadway hands are delighted that Tommy is providing it,
- but some of the rock faithful complain that the piece has been
- overly domesticated. They say its hero, Tommy Walker, has been
- transformed from a '60s rebel into a '90s wuss who at the end
- of the evening embraces his dysfunctional family by telling
- them, "You don't have to claim a share of my pain--you're
- normal after all." Townshend says his critics should grow up.
- "What I mean by normality is freedom from disability," he says.
- This version of Tommy, he explains, rejects "the great visceral
- rock-'n'-roll dream that refused to ever come back down to earth,
- that refused to address reality. I'm landed. I'm here back on
- earth."
- </p>
- <p> Right now earth is a pretty pleasant place for Pete Townshend
- to be. Once a heavy drinker, he has been largely sober for 10
- years, temporarily lapsing about six months ago but recently
- straightening out again. His 25-year marriage is in good shape,
- and with his two daughters grown he is enjoying a new round
- of fatherhood with son Joseph, 3 1/2. This winter, the Young
- Vic in London is scheduled to mount a production of The Iron
- Man, the 1989 musical that Townshend adapted from a fable written
- by British poet Ted Hughes. In the meantime, he is working on
- a musical adaptation of playwright Arthur Miller's 1987 autobiography,
- Timebends. All of which is enough to give this self-described
- dinosaur rocker a new outlook on life. Now, he has decided,
- "I don't want to die before I get old."
- </p>
-
- </body>
- </article>
- </text>
-
-