Nick Corrall

Regardless of how it is characterised, Michael Strassen’s production of Tommy is a genuine triumph, practically perfect in every way. From the first note, it grabs you by the throat, demands that attention be paid, and does not relent in that until Tommy spins the oversized pinball in his hands and a blackout signals the show has ended. Intervals are rarely resented these days, but I freely confess to resenting the interval here. This is an exceptional reimagining of a work rarely performed on stage. Vocally, dramatically and artistically it is an unqualified triumph. Ashley Birchall is a rising star, John Barr an established one.