'The Who,' the British rock group that cavorts all over a stage like possessed beings, has always been rather operatic.

But it is only recently that they have written a full-length rock opera, the first and only one of its kind.

It's called "Tommy," and besides being a best-selling album it's also a superb show, as a packed Bushnell Memorial Auditorium testified to Tuesday night in Hartford.

The plot is, to say the least, bizarre.

Little Tommy Walker witnesses an adulterous murder, and is repeatedly told by his parents that he didn't see anything, he didn't hear anything and he won't say anything. So Tommy, an obliging lad, becomes blind, deaf and dumb.

His infirmities notwithstanding, Tommy eventually becomes extremely adept at playing pinball—in fact, a Pinball Wizard: Don't got no distractions Don't hear no buzzers or bells; Don't see no lights a-flashing Plays by sense of smell.

He becomes a sort of religious leader, commanding a large following of faithful pinball addicts. When Tommy gets too dictatorial, he is overthrown — but in the process, he has been cured of his infirmities.

"We just followed our noses in writing 'Tommy,'" says Peter Townshend, lead guitarist. "I have the biggest nose, so I did most of the writing."

Indeed, much of "Tommy" has been written for lead guitar, and Townshend handles the long intricate solos amazingly well.

Even accepting the fact that "Tommy" is set to rock music, one might argue that it's not an opera.

For one thing, there are no costumes. The performers don't climb staircases, fight duels or

several pairs a night. Even when Townshend is playing a guitar solo. Moon beats an imaginary rhythm about six inches above the drums.

Daltry, who has foot-long fringes on the arms and legs of his clothing, alternately bends Elvis-style over the microphone and sends it twirling around his head.

Entwhistle stands almost offstage, quietly playing his bass, occasionally stepping up to the microphone, but mostly strumming and frowning. He enjoys affecting a froggy voice, which is about seven octaves below middle C.

While The Who obviously enjoy performing "Tommy," they convey the sadness of some of the songs, especially those in which Tommy's afflictions are discovered.

"Tommy, can you hear me? Tommy, can you see me?" Townshend cries in a high, taut voice. These songs about Tommy are tense while extremely melodious and can properly be termed mellow-dramatic.

Besides "Pinball Wizard," "I'm Free" is another song from "Tommy" that has made the top-40 charts. The Bushnell audience applauded loudly after both these selections.

At the conclusion of the long, long non-stop performance, the Bushnell audience jumped to its feet clapping, whistling, stamping and calling for more (they got a bit more; The Who played a smattering of golden oldies).

Producer Dick Sandhaus smiled backstage. "I guess they really liked it," he said.

And when The Who, looking totally exhausted, finally dragged themselves from the stage, they looked as though they had enjoyed it too.

Moon, a lightning-fast drummer, plays so intensely that he trips over parts of his drum set occasionally. He often smashes his drumsticks and goes through

Keith Moon

Courant photos by Henry McNulty.