The juxtaposition is astounding. Across the construction zone, the big professional company is mounting a big money but bloodless musical. Over in the little theatre, Nearly Naked is investing their heart and soul in the rock opera The Who’s Tommy. Damon Dering has molded the musical into an even grander concept. He has reached out to members of the valley’s Scorpius Dance Theatre to add their modern movement to an impressive gallery of young and established talent. He has tapped Kristopher Mark Foreman and his band Aftersmash (Steve McCarvel on aux keyboard and sax, Chris Pernice on bass guitar and trombone, Andrew Hake on drums, Cody Carter on rhythm guitar, and JC Terrazas on lead guitar) to bring Pete Townsend’s music to life. Gregory Jaye’s design for the set is more than utilitarian as it is across the way, here it is inspired. Bob Nelson and Derek Nelson’s lighting is a spectacle of its own. As you conspiratorially enter the transformed Little Theatre, prepare to be overwhelmed in a way this company hasn’t succeeded at since Equus.

It’s rare that I can say that there is not a single weakness in the ensemble. Everyone has bought into Dering’s concept and he has populated the cast with strong actors, singers, and dancers, and a few triple threats.  His framing concept seemed a little excessive at the start and the first act felt heavy with symbolism, but his second act and finale pay off so well, it’s hard to remember why I was griping in the first place. His numerous little directorial flourishes, such as his brilliant staging of the Acid Queen sequence, are strong and helpful to understanding the movement of the show. The few comments I have are so petty, they show how hard I have to nitpick to find fault.

The trio of Tommys (Hailey Hart, Maxx Carlisle-King, and adult Sean Rhys Gilyeat) is wonderful. Hart and Carlisle-King are alternately asked to be expressionless and reactive, and they do it professionally. They are also strong singers, which is a plus. Gilyeat has the look, the voice, and the movement, and the power necessary to make this enigmatic character work, and work well. One of the triple threats I mentioned, he brings life to every moment he’s onstage. Athena Reiss and Beau Heckman are spectacular as the Captain and Mrs. Walker. They each have many moments to highlight their many talents such as their strong voices and stylized acting. Adam Vargas is absolutely creepy as Uncle Ernie. His acting and vocal performance is so skin crawling, it’s hard to look at him the same way after. Brad Rupp’s sadistic Cousin Kevin is almost too realistic, and his primary character has a distinct character arc in Dering’s concept, one that Rupp ably handles.

The ensemble features enough fine performances to act as proof that there are no small parts, only small actors. People like Dion Johnson (who knew that boy could be so damned funky?), Johanna Carlisle, and Carly Vernon pop up for their big moments and then seamlessly disappear into their supporting roles.

Edgar Andrew Torrens’ choreography of the ensemble balances the work of Scorpius choreographers Lisa Starry and Nicole Olson. The frenetic movement of the piece is wonderfully eye-catching and exciting. The choreography’s use as plot movement, commentary, and symbolic relationship to the story is so wonderful that it makes me wonder why more theatre companies haven’t called on local dance companies to collaborate. Let’s hope this is the start of a wonderful trend.

Am I gushing? No, it’s not absolutely perfect. The extensive amount of body mics has resulted in some flubs in Brett Rothstein’s sound design. Some of the choreography begins to feel repetitive later in the show. Dering occasionally lets the concept become a bit convoluted, such as his splitting of the Gypsy between vocal and movement performers. See what I mean about nitpicking, but I have to be critical about something, right?