'Tommy,' a noted rock opera, gave its stage premiere Wednesday night to a climax of tumultuous exultation, a vibrant, vigorous, and vivid blend of crescendoing vision and sound.

The Seattle Opera Co. production provided clarity and simplicity to The Who's confused story of a personality scarred by drugs, sexual incidents, and religious delusion.

Bette Midler, a stage and television talk show veteran, lent strong characterization as Mrs. Walker and the Acid Queen, matching the rock group authors' music and the visual magic created by cinematic designer Ronald Chase.

Steve Curry and Gary Mascaro, weak overall in the title roles, had little to do other than pantomime Tommy's pain and isolation, or posture and nearly dance while singing and performing some vital songs and scenes.

The first half of the show, directed by San Francisco’s Richard Pearlman, was rightly Miss Midler's. Mascaro should have taken over when Tommy broke out of his bandage-wrapped womb of silent darkness.

Then Curry should have carried the short second act, but neither was able to do so. Projection of pulsating images and dance pantomime of emergency from mummy-like cocoons of normalcy salved the lack.

Musicians from the Northwest rock group Cannon Ball, under Norman E. Durkee's direction, were a dynamic force in the sometimes raucous, sometimes gentle and plaintive fantasy.

Dennis Nahal’s choreography added caricature and breadth. Nudity, occasional instances in keeping with current mores and the show's themes, was well handled. Moments of sexual incidents in dance were generally tastefully portrayed, except the lover and Hawker, both played deeply by Mel Auston.

The story begins with infant Tommy witnessing his mother with a lover. The trauma leaves him deaf, dumb, and blind. Later, he breaks free, first freeing others, then takes drugs, becomes a rock music star, and invites "disciples" to join his pseudo-religion.

They discover Tommy himself isn't free and turn on him. Then, again, he and they are reborn into a beautiful haven.

The closing scene captivated the capacity opening-night audience of about 1,600 people, bringing them to their feet for stomping, clapping, and shouting participation in the joyous finale.

Another show-stopper was the first act "Pinball Wizard" sequence, a collage of stereotypical characters from contemporary America. Los Angeles' Teda Bracci was strong in the supporting role of the Roller Derby Champ in this scene, as well as in the earlier role of Nurse.

Tommy's song "Welcome," well-sung by Curry, has hit-tune potential as he urges "come to my house; be one of the comfortable people."

The strongest element in the multimedia production was the swirling mixture of surrealistic yet sometimes representational moving and still picture projections.

Intricately blended on scrims and screens amid actor-dancers, projection timing was controlled by a computer-programmed electronic tape, a troupe spokesman said.

Another strong pair of supporting roles was admirably filled by TV veteran George Ramos as the Doctor and Cousin Kevin.

The opera, performed concert style by its authors, sold well in its recorded version about two years ago. A Montreal ballet troupe, Les Grandes Ballet Canadiens, recently closed a New York engagement in which they danced the show to The Who's recording.

The Daily Chronicle, Thursday, April 29, 1971