1_ Continued from F3
itipstage the obvious affection for
‘ the rock opera.
’ ‘Equally stylized, but more sub-
stantive, was actress-musician
Ann Magnuson’s performance. Af-
ter a dramatic entrance complete
with velvet cloak, candle and cal-
dron, she launched into a version of
“The Acid Queen” that combined
literary and pop culture references
in a manner that simultaneously
celebrated and poked fun at
Townshend's obsessions with both.
Magnuson conjured witch allu-
sions from TV's “Bewitched" to -
“Macbeth," ending the song by
dousing herself in stage blood a la
Sissy Spacek in the film “Carrie."
On a more low-key note, Love
Jones (a quintet from Louisville, Ky.,
smartly clad in matching lounge-liz-
ard outfits) delivered a Winsome
unplugged rendition of “One” as well
as a warmly twisted cocktail version
of “Behind Blue Eyes."
Several of the evening’s other 12
artists opted for morestraightfor-
ward interpretations of Towns-
hend’s material, with the most
powerful by the Plimsouls, the
prized L.A. band from the ’803, and
Permanent Green Light.
Because White Flag, the punk
veterans who closed the show, were
not allowed by event organizers to
shatter equipment a la the Who, they
improvised by miming the slow-
motion destruction of their instru-
ments, which they gently laid in
quiet disarray all over the stage.
Townshend would be proud.