Pete Townshend and Roger Daltrey, the founding members of The Who, probably would not have reached the heights they did if they had always performed from the same hymn sheet. Within a band, friction need not always be a bad thing; in some situations, it can inspire the group to produce their best work.
In many ways, Pete Townshend and Roger Daltrey are the musical Yin and Yang, but when they combine their formidable talents, they produce incredible work of art that solidifies their status as British musical icons. They have often disagreed on a range of topics, particularly on content written by The Who.
Even though Townshend is the band’s main songwriter and leader, Daltrey’s electric vocal range was necessary to give his compositions life. They also became one of their generation’s most successful live bands and thrived in that setting because of the frontman’s captivating stage presence.
When The Who were at their most powerful, they weren’t scared to explore uncharted territory and break new ground. Tommy, which came out in 1969, is the best-known example of this personality characteristic. More than 50 years after it was released, this album is still in demand as a stage opera. It also invented the rock opera format.
Tommy made a successful return to Broadway in 2024, thanks to the help of director Des McAnuff. He was also involved in the original production back in the 1990s. The first show explored the album’s themes in a new way, garnering high praise and winning awards.
There are a few differences between the film and the album. Both featured Daltrey in the lead role, even though they mostly address the same subject. The frontman of The Who naturally feels protective of the project. He felt that these small alterations diminished the magic of the original work.
As The Who never performed the album in its entirety, Daltrey honored Tommy’s legacy in 2011. He went on a lengthy tour and did so. In an interview with The Telegraph at the time, Daltrey asserted that the rock opera’s genius stems from its many interpretations. He said, “It can mean whatever you want it to mean.”
“I use the characters as metaphors for parts of the human condition, so it’s a kind of story of the human spirit,” he added in his statement.
Conversely, Daltrey expressed disapproval towards the Broadway adaptation of Tommy, to which he did not contribute. He stated, “It seems to have missed the mark entirely.” It seemed hollow to me personally. I did express my opinions to Pete, but all he said was, “F— you.” [Daltrey breaks into loud giggles.] What do I know? He won a Tony award, though.
Townshend won a Tony Award for Tommy, as Daltrey himself pointed out. Even though he didn’t like the stage version, it is yet another illustration of how adaptable the original album is. It can serve as a blank canvas for a variety of potent stories about human existence.
The stage adaptation of Tommy amply demonstrates its reputation. It returned to Broadway thirty years after it first opened in New York. Furthermore, the story’s resurgence shows how relevant it is even in 2024, despite the passage of many decades.
