heat, light, and sound in the form of unique vibrations. Taking the idea one step further, making music, which was composed of vibrations, was the pervading force of all life. Elevating its purpose to the highest level, music represented the path to restoration, the search for the one perfect universal note, which once sounded would bring harmony to the entire world. Despite Townshend’s grandiose plans, the project had its problems. The theater had its own schedule of drama productions, and wasn’t available on a regular nightly schedule that Townshend insisted was necessary for the band to sustain a "euphoric level" of performance. Townshend: "The fatal flaw…was getting obsessed with trying to make a fantasy a reality rather than letting the film speak for itself." Eventually Townshend had to let go of Lifehouse for his own sake. Townshend’s inability to translate the ideas in his head to those around him eventually led to a nervous breakdown. "It was a disaster." No one apart from himself actually understood the whole concept of Lifehouse. Even John Entwistle believed that the band were to actually stay at the Young Vic with the audience in a sort of commune. Kit Lambert, an integral part of the communication between the members of the Who, was missing. Townshend had rejected a Tommy film script written by Lambert, and later found out that he had told Universal Pictures (to whom Townshend had spoken regarding the making of the film) that Lifehouse was actually a new version of Tommy. Lambert, dejected, frustrated and hurt, had moved to New York. With Tommy, Lambert had served as Townshend’s "interpreter," explaining "to the willing but befuddled people around me what I was on about." The film was indefinitely postponed until the album had been issued. The band went to Glyn Johns to produce their collection of songs, intended for a double album. They decided to shelve most of the songs in favour of a single album, hoping that it would have "a sharper focus and greater impact" than the concept of Lifehouse had become. In August 1978 Keith Moon said the band intended to make a Lifehouse film after the film version of Quadrophenia had been completed. Townshend also revisited the concept, in modified form, in his radio play and recording Psychoderelict, which incorporated outtakes from the Lifehouse/Who's Next sessions and demos. In the plot of Psychoderelict, a reclusive rock star named