Last Saturday, I trekked over to UMass to quench my thirst for musical theater with the UMass Theatre Guild's production of The Who's "Tommy." Although the show was fun, fast-paced and fairly well done, I oftentimes found myself excusing its faults by saying that it was a university performance.

The plot delineates how Tommy Walker becomes "deaf, dumb and blind" after witnessing his father, an ex-prisoner of war, shoot dead his mother's new love interest in self-defense.

Unresponsive to myriad treatments, Tommy is vulnerable to the whims of his evil relatives; his "wicked Uncle Ernie" molests him and his cousin Kevin abuses him. Tommy can, however, "sure [play] a mean pinball," thereby becoming a "Pinball Wizard," highlight of the show.

Tommy also frequently looks into a two-way mirror-a clever effect-and reflects upon his younger and older self. When Mrs. Walker smashes the mirror, the scene dissolves into a tripped-out spectacle of lights. Tommy can then miraculously see, feel and speak. The second act's plot proceeded to be lost in a hazy cloud of drugs and rock 'n' roll.

For the most part, the acting and singing were superb. Tommy (Mike Devlin) had boundless energy and charisma that contrasted well with the stoic Young Tommy (Henry Weis) who deserves particular attention for his talent at such a young age. Robin Amendola (Mrs. Walker), Josh Chelmo (Captain Walker) and Chris Kane (cousin Kevin) all had strong voices and portrayed their characters adeptly. A difficult musical, "Tommy" persevered with notable harmonies and choreography.

Hampshire College freshman Alie Wickham choreographed the show with a modern slant. Although her capabilities as a choreographer were showcased in some original dancing, the modernity she introduced to the musical was not exactly appropriate for a 1969 work. The Twyla Tharp-like dance moves, bright, solid-colored shirts and denim jeans were instead reminiscent of "Movin' Out."

The garish costumes lent an element of comedy, as did the ensemble's frequently over-the-top acting. Still, this ensemble was too large and cluttered the stage when the audience needed to focus on the main developments. The stage had various large props and a blank backdrop lighted to reflect the ambience of whatever scene was playing. The set was apposite, but the technical direction could have been improved; several obvious sound cues were so mistimed that the audience simply could not hear the actors.

A fair production with talented performances, "Tommy" was let down by amateurism in too many other aspects.