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‘THE WHO’S TOMMY’ BROADWAY REVIEW: STILL A SENSATION

By Greg Evans


GREG EVANS

NY & Broadway Editor

@GregEvans5

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March 28, 2024 6:00pm

Ali Louis Bourzgui, 'The Who's Tommy' Matthew Murphy and Evan Zimmerman

Certainly one definition of great music might include an ability to meet the
present – and the future – head-on and come out unbruised, even triumphant. By
that standard and many more, The Who’s Tommy, opening tonight on Broadway, is
thrilling proof that the premiere concept album of 1969 is great music indeed.

Gloriously directed by Des McAnuff and updated by him and composer-lyricist Pete
Townshend from their own 1993 original Broadway staging, The Who’s Tommy is a
non-stop surge of electrified energy, a darting pinball of a production that
syncs visual panache with 55-year-old songs that sound as vital today as they
must have at Woodstock. Themes of enlightenment and connection, trauma and
recovery, truth and lies (or alternative truths, in someone’s grotesque
parlance) and blinkered hero worship feel more relevant in the 21st Century than
Townshend could possibly have imagined way back in the waning days of the ’60s.




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With a superb cast headed by Broadway newcomer Ali Louis Bourzgui as Tommy, the
“deaf, dumb and blind kid” – most of whatever language less-than-acceptable by
today’s standards has been retained – and Alison Luff as his mom Mrs. Walker,
Tommy feels less like a stick-to-what-works revival than a top-to-bottom
reimagining. Nearly all of it works beautifully.

Neither the music – from “I’m Free,” “See Me, Feel Me,” “Sensation” and “Pinball
Wizard” to “Acid Queen,” “Christmas” and “Tommy, Can You Hear Me?” – nor the
plot has changed much in the last 55 years since the former first grabbed FM
radio listeners and the latter baffled stoned hippies hoping to make sense of it
(the album didn’t come with instructions).

So, the plot: In a brief preamble set in 1941, British officer Captain Walker
(Adam Jacobs) meets and marries the soon-to-be Mrs. Walker (Luff). He returns to
battle – chillingly depicted with archival projections and goose-stepping
silhouettes of marching Nazis – where he’s captured and sent to a camp while she
gives birth to their son Tommy. Presuming her husband dead, Mrs. Walker takes up
with a new man (Nathan Lucrezio), only to be shocked when the Captain returns
home. A fight leaves the lover dead, and Tommy, who saw it all, traumatized.



Alison Luff, Olive Ross-Kline, Adam Jacobs Matthew Murphy and Evan Zimmerman

“You didn’t hear it, you didn’t see it!/You won’t say nothin’ to no one/Ever in
your life,” mom and dad sing to the terrified Tommy. To say the least, he takes
their admonitions to heart, retreating into himself and endlessly staring into a
mirror.





The first act of the musical portrays Tommy at ages 4 and 10 – as well as, less
frequently, Bourzgui’s adult Tommy, interacting with them – through various,
well, adventures would be a polite way to put it. He’s prayed over
(“Christmas”), medically examined (“Sparks”), taken to various drugs & sex dens
of iniquity (“Eyesight to the Blind” and “Acid Queen”), tormented by a sadistic
cousin (“Cousin Kevin”) and, in “Fiddle About,” left alone with his sexually
abusive Uncle Ernie (John Ambrosino) – no laughing matter in this telling,
unlike Ken Russell’s grotesque 1975 film version.



Bobby Conte  Matthew Murphy and Evan Zimmerman

It’s Cousin Kevin – terrifically played by Bobby Conte – who inadvertently spurs
Tommy’s breakthrough, and leads the musical to its show-stopping Act I finale:
After some at-home cruelty, he takes his young charge to a local youth community
center, where Tommy is mysteriously drawn to a pinball machine. The rest, as
they might say, is rock and roll history, as Tommy stuns the hall full of teens
with an inexplicable mastery of the electric machine.

Much, of course, is expected of “Pinball Wizard,” one of the most loved songs in
The Who catalogue, and in Lorin Latarro’s exuberant, best-of-show choreography,
all expectations are met. The teens all but explode in an feverish dance of
elation and slack-jawed wonderment.

The second half of the show follows Tommy’s ascendance from local hero to
national celebrity – one of Townshend’s better conceits was always the
substitution of pinball wizardry for rock stardom – including his emotional
breakthrough (“Smash The Mirror,” “I’m Free”) when his sight, hearing and speech
returns. The “Miracle Cure” sends him to the heights of stardom (“Sensation”)
and to its depths (“Sally Simpson”).

At this point in the show, the musical veers from both the album and the film by
eliminating the song “Tommy’s Holiday Camp,” in which loathsome old Uncle Ernie
(played for laughs in the film by The Who’s Keith Moon) is back in Tommy’s good
graces and running a Tommy-themed retreat for fans. No such blanket forgiveness
here: When last we see the alcoholic, dejected pedophile, he remains standing
apart from the rest of the Walker family. Even Cousin Kevin has found his way
back to the fold, putting his nasty skills to use (unbeknownst to Tommy) as the
family’s authoritarian security guard, complete with a longcoat that lands
somewhere between Communist China and 1984.



Christina Sajous Matthew Murphy and Evan Zimmerman

The Acid Queen (Christina Sajous), like Cousin Kevin, is given a bit of, if not
exoneration, then some understanding: The unrepentant sex worker-drug pusher of
Tina Turner’s film portrayal, tasked with effecting some sort of cure by
corrupting the child Tommy, is shown here to be a victim herself, with a pimp or
two supplying the heroin that keeps her in line.

In any case, “Tommy’s Holiday Camp” isn’t missed, with the much lovelier
“Welcome” serving the same function of conveying Tommy’s attempt to connect with
his followers while rejecting their messianic expectations. It doesn’t go well,
as evidenced by the greatest anthem of mob uprising and defiance in rock (here
performed by the the production’s excellent chorus, with the word “break”
subbing for “rape,” an odious sentiment even in ’69).

“We’re not gonna take it, never did and never will
Don’t want no religion and as far as we can tell
We ain’t gonna take you, never did and never will
We’re not gonna take you, we forsake you, gonna break you
Let’s forget you better still”





From there, it’s all over but the barnburner finale, a full-cast reprise of “See
Me, Feel Me”/”Listening To You” that had the audience at the reviewed
performance on its feet and roaring, a reception that had been teased out not
only by an faultless cast and rousing score (the orchestra and orchestrations
fully meet the occasion) but by two-plus hours of visual magic. Set designer
David Korins (Hamilton) has devised a deceptively minimalist foundation, with
large open spaces, scrims and furnishings that can seem mere suggestion – the
pinball machine is little more than a frame. Splashing this cavernous canvas
with extraordinary displays of light (courtesy of designer Amanda Zieve) and
Peter Nigrini’s state-of-the-art projections, the world of Tommy is less the
pinball machine buzzers and bells of yore than a 3-D mash-up of Tron-style laser
show and you-are-there Virtual Reality. There’s even some Ivo van Hove-ish mixed
media tossed in for good measure.



The company Matthew Murphy and Evan Zimmerman

Matching Nigrini’s time-jumping projections from Blitz to V.R. every step of the
way are Sarafina Bush’s wildly inventive costumes, capturing each era’s essence
without falling victim to that musical theater bogeyman of Halloween costume
replication. Post-war drab gives way to Teddy Boy flash, which segues to
leather-era early Beatles and, inevitably, the dystopian future-retro-fascist
grays that Orwell himself might have imagined. At every epoch, Bush sends in
black sleek-helmeted soldier-droog-robot toadies to make any amount of mischief.



Ali Louis Bourzgui and the ensemble  Matthew Murphy and Evan Zimmerman

Keeping everything jumping, very literally, is Latarro’s exhilarating
choreography, never better than in the ’50s-’60s-era mad celebrations of teenage
abandon, whether the West Side Story ruffianism of “Tommy, Can You Hear Me” or
that wonderful arcade dance of “Pinball Wizard.” Watch for the details: At one
point as the young Tommy is dazzling the crowd with his Bally Table wizardry,
the enthusiastic lads and lasses lift the boy’s feet so high that the kid’s body
is at a 2 o’clock angle, tethered only to the machine by his crazy flipper
fingers. Can this be anything other than an homage to the iconic photo of a
young Elton John kicking his legs behind him while bashing his piano keys,
Townshend’s pinball wizard-rock star metaphor made clear in one joyous moment of
theater?

Of course, none of this razzle-dazzle would work without a cast to justify it,
and McAnuff, an exemplary director who has really never been better, has
assembled a very worthy group. Bourzgui, his wild mop of curly black hair
crowning a handsome face dominated by big, dark Bette Davis eyes that remain
wide and vacant until they’re not, is one of this season’s true finds. With
eccentric, angular movements that stop just short of robotic, Bourzgui careens
from the stilted expressions of a man trapped in his body to the fluid, soulful
gestures of his adult self guiding his lost-to-themselves younger iterations.
The rock-star moves that eventually arrive seem entirely inevitable, his voice
throughout finding the sweet spot between Roger Daltrey howl and the musical
theater control.

Those younger Tommy iterations, by the way, were played at the reviewed
performance by Olive Ross-Kline (Tommy at 4) and Quinten Kusheba (age 10), both
(adorably) wigged with the same unruly mane Bourzgui sports, and both given
chances to shine as actors and singers. (Ross-Kline and Kusheba share the roles
with, respectively, Cecilia Ann Popp and Reese Levine; whoever made the decision
to cast the youngest Tommys with girls, brava).





No weak links in the rest of the cast either. Conte, so good in Broadway’s most
recent Company, is no less a bright spot here, finding both the humor and the
menace in the pin-sticking Cousin Kevin, “the school bully, the classroom cheat,
the nastiest playfriend you ever could meet.” Conte is handed perhaps the most
underrated song of the score (“Cousin Kevin,” written by The Who’s bassist John
Entwistle), and runs with it.

Luff, as Tommy’s long-suffering, occasionally misguided but ever-devoted mom, is
a wonder, reaching a show zenith with the Act II raver “Smash The Mirror.”
(She’s equally impressive with the quieter husband-wife duet-ballad “I Believe
My Own Eyes” with Jacobs, though that number, added by Townshend long after the
original rock album, remains the stage musical’s sore thumb.)



John Ambrosino, Bobby Conte, Ali Louis Bourzgui, Alison Luff, Adam Jacobs and
the company Matthew Murphy and Evan Zimmerman

Notable among the very large ensemble is Sheldon Henry as the Hawker pimp who
introduces the Acid Queen with “Eyesight To The Blind” (a menacing bluesy number
heavily indebted, to put it mildly, to the great Sonny Boy Williamson). Sajous,
as the Acid Queen, doesn’t have the shriek-of-nature vocal power of the film’s
Tina Turner – who does? – but gives the character and the sultry song a wounded
depth that feels thoroughly of the moment.

When Townshend wrote the album’s central question – “Can you hear me?” – back in
’69, he might have directed the lyric at his fictional alter-ego Tommy, but
perceptive listeners recognized the plea for a larger connection, whether
spiritual or communal or familial or even self. All these years later, the
question remains at the heart of The Who’s Tommy, and we can answer, with great
pleasure, loud and clear.

Title: The Who’s Tommy
Venue: Broadway’s Nederlander Theatre
Director: Des McAnuff
Book: Pete Townshend and Des McAnuff
Music and Lyrics: Pete Townshend
Choreography: Lorin Latarro
Cast: Ali Louis Bourzgui, Alison Luff, Adam Jacobs, John Ambrosino, Bobby Conte,
Christina Sajous, with Haley Gustafson, Jeremiah Alsop, Ronnie S. Bowman Jr.,
Mike Cannon, Tyler James Eisenreich, Sheldon Henry, Afra Hines, Aliah James,
David Paul Kidder, Tassy Kirbas, Lily Kren, Quinten Kusheba, Reese Levine, Brett
Michael Lockley, Nathan Lucrezio, Alexandra Matteo, Mark Mitrano, Reagan Pender,
Cecilia Ann Popp, Daniel Quadrino, Olive Ross-Kline, Jenna Nicole Schoen, Dee
Tomasetta, and Andrew Tufano.
Running time: 2 hr 10 min (including intermission)










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2 Comments




2 COMMENTS


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 * Maury F. on April 7, 2024 9:20 pm
   
   I second every superlative in this insightful review, I saw TOMMY on Saturday
   and it was superb!
   
   
   
 * Jeremy B Gerard on March 28, 2024 7:37 pm
   
   Yes.
   
   
   




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STORE AND/OR ACCESS INFORMATION ON A DEVICE 670 PARTNERS CAN USE THIS PURPOSE

Store and/or access information on a device

Cookies, device or similar online identifiers (e.g. login-based identifiers,
randomly assigned identifiers, network based identifiers) together with other
information (e.g. browser type and information, language, screen size, supported
technologies etc.) can be stored or read on your device to recognise it each
time it connects to an app or to a website, for one or several of the purposes
presented here.

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STRICTLY NECESSARY COOKIES 0 PARTNERS CAN USE THIS PURPOSE

Always Active

These cookies are necessary for the website to function and cannot be switched
off in our systems. They are usually only set in response to actions made by you
which amount to a request for services, such as setting your privacy
preferences, logging in or filling in forms. You can set your browser to block
or alert you about these cookies, but some parts of the site will not then work.
These cookies do not store any personally identifiable information.

 * ENSURE SECURITY, PREVENT AND DETECT FRAUD, AND FIX ERRORS 504 PARTNERS CAN
   USE THIS PURPOSE
   
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   Your data can be used to monitor for and prevent unusual and possibly
   fraudulent activity (for example, regarding advertising, ad clicks by bots),
   and ensure systems and processes work properly and securely. It can also be
   used to correct any problems you, the publisher or the advertiser may
   encounter in the delivery of content and ads and in your interaction with
   them.
   
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 * DELIVER AND PRESENT ADVERTISING AND CONTENT 492 PARTNERS CAN USE THIS PURPOSE
   
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   Certain information (like an IP address or device capabilities) is used to
   ensure the technical compatibility of the content or advertising, and to
   facilitate the transmission of the content or ad to your device.
   
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 * IDENTIFY DEVICES BASED ON INFORMATION TRANSMITTED AUTOMATICALLY 477 PARTNERS
   CAN USE THIS PURPOSE
   
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   Your device might be distinguished from other devices based on information it
   automatically sends when accessing the Internet (for instance, the IP address
   of your Internet connection or the type of browser you are using) in support
   of the purposes exposed in this notice.

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PERFORMANCE COOKIES 0 PARTNERS CAN USE THIS PURPOSE

Performance Cookies

These cookies allow us to count visits and traffic sources so we can measure and
improve the performance of our site. They help us to know which pages are the
most and least popular and see how visitors move around the site. All
information these cookies collect is aggregated and therefore anonymous. If you
do not allow these cookies we will not know when you have visited our site, and
will not be able to monitor its performance.

 * MEASURE CONTENT PERFORMANCE 357 PARTNERS CAN USE THIS PURPOSE
   
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   Information regarding which content is presented to you and how you interact
   with it can be used to determine whether the (non-advertising) content e.g.
   reached its intended audience and matched your interests. For instance,
   whether you read an article, watch a video, listen to a podcast or look at a
   product description, how long you spent on this service and the web pages you
   visit etc. This is very helpful to understand the relevance of
   (non-advertising) content that is shown to you.
   
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 * DEVELOP AND IMPROVE SERVICES 532 PARTNERS CAN USE THIS PURPOSE
   
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   Information about your activity on this service, such as your interaction
   with ads or content, can be very helpful to improve products and services and
   to build new products and services based on user interactions, the type of
   audience, etc. This specific purpose does not include the development or
   improvement of user profiles and identifiers.
   
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FUNCTIONAL COOKIES 0 PARTNERS CAN USE THIS PURPOSE

Functional Cookies

These cookies enable the website to provide enhanced functionality and
personalisation. They may be set by us or by third party providers whose
services we have added to our pages. If you do not allow these cookies then some
or all of these services may not function properly.

 * UNDERSTAND AUDIENCES THROUGH STATISTICS OR COMBINATIONS OF DATA FROM
   DIFFERENT SOURCES 447 PARTNERS CAN USE THIS PURPOSE
   
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   Reports can be generated based on the combination of data sets (like user
   profiles, statistics, market research, analytics data) regarding your
   interactions and those of other users with advertising or (non-advertising)
   content to identify common characteristics (for instance, to determine which
   target audiences are more receptive to an ad campaign or to certain
   contents).
   
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 * CREATE PROFILES TO PERSONALISE CONTENT 217 PARTNERS CAN USE THIS PURPOSE
   
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   Information about your activity on this service (for instance, forms you
   submit, non-advertising content you look at) can be stored and combined with
   other information about you (such as your previous activity on this service
   or other websites or apps) or similar users. This is then used to build or
   improve a profile about you (which might for example include possible
   interests and personal aspects). Your profile can be used (also later) to
   present content that appears more relevant based on your possible interests,
   such as by adapting the order in which content is shown to you, so that it is
   even easier for you to find content that matches your interests.
   
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TARGETING COOKIES 0 PARTNERS CAN USE THIS PURPOSE

Targeting Cookies

These cookies may be set through our site by our advertising partners. They may
be used by those companies to build a profile of your interests and show you
relevant adverts on other sites. They do not store directly personal
information, but are based on uniquely identifying your browser and internet
device. If you do not allow these cookies, you will experience less targeted
advertising.

 * ACTIVELY SCAN DEVICE CHARACTERISTICS FOR IDENTIFICATION 119 PARTNERS CAN USE
   THIS PURPOSE
   
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   With your acceptance, certain characteristics specific to your device might
   be requested and used to distinguish it from other devices (such as the
   installed fonts or plugins, the resolution of your screen) in support of the
   purposes explained in this notice.

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PERSONALISED ADVERTISING AND CONTENT, ADVERTISING AND CONTENT MEASUREMENT,
AUDIENCE RESEARCH AND SERVICES DEVELOPMENT 770 PARTNERS CAN USE THIS PURPOSE

Personalised advertising and content, advertising and content measurement,
audience research and services development

 * USE LIMITED DATA TO SELECT ADVERTISING 606 PARTNERS CAN USE THIS PURPOSE
   
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   Advertising presented to you on this service can be based on limited data,
   such as the website or app you are using, your non-precise location, your
   device type or which content you are (or have been) interacting with (for
   example, to limit the number of times an ad is presented to you).
   
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 * CREATE PROFILES FOR PERSONALISED ADVERTISING 492 PARTNERS CAN USE THIS
   PURPOSE
   
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   Information about your activity on this service (such as forms you submit,
   content you look at) can be stored and combined with other information about
   you (for example, information from your previous activity on this service and
   other websites or apps) or similar users. This is then used to build or
   improve a profile about you (that might include possible interests and
   personal aspects). Your profile can be used (also later) to present
   advertising that appears more relevant based on your possible interests by
   this and other entities.
   
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 * USE PROFILES TO SELECT PERSONALISED ADVERTISING 487 PARTNERS CAN USE THIS
   PURPOSE
   
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   Advertising presented to you on this service can be based on your advertising
   profiles, which can reflect your activity on this service or other websites
   or apps (like the forms you submit, content you look at), possible interests
   and personal aspects.
   
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 * USE PROFILES TO SELECT PERSONALISED CONTENT 190 PARTNERS CAN USE THIS PURPOSE
   
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   Content presented to you on this service can be based on your content
   personalisation profiles, which can reflect your activity on this or other
   services (for instance, the forms you submit, content you look at), possible
   interests and personal aspects. This can for example be used to adapt the
   order in which content is shown to you, so that it is even easier for you to
   find (non-advertising) content that matches your interests.
   
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 * MEASURE ADVERTISING PERFORMANCE 707 PARTNERS CAN USE THIS PURPOSE
   
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   Information regarding which advertising is presented to you and how you
   interact with it can be used to determine how well an advert has worked for
   you or other users and whether the goals of the advertising were reached. For
   instance, whether you saw an ad, whether you clicked on it, whether it led
   you to buy a product or visit a website, etc. This is very helpful to
   understand the relevance of advertising campaigns.
   
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 * USE LIMITED DATA TO SELECT CONTENT 120 PARTNERS CAN USE THIS PURPOSE
   
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   Content presented to you on this service can be based on limited data, such
   as the website or app you are using, your non-precise location, your device
   type, or which content you are (or have been) interacting with (for example,
   to limit the number of times a video or an article is presented to you).
   
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   Object to Legitimate Interests Remove Objection

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