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THE WHO'S TOMMY

 * Theater, Musicals
 * Nederlander Theatre, Midtown West
 * Open run
 * 4 out of 5 stars
 * Recommended

Photograph: Courtesy Matthew MurphyThe Who's Tommy
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TIME OUT SAYS

4 out of 5 stars

The classic-rock opera about a traumatized boy returns.

Broadway review by Adam Feldman 

“I’m a sensation!” declares the title character of The Who’s Tommy when, as a
10-year-old boy, he first stands before a pinball machine. We hear this feeling
through narration sung by the grown-up version of Tommy (Ali Louis Bourzgui),
because the child version is mute; in a psychosomatic reaction to trauma years
earlier, he has become a “deaf dumb and blind kid,” albeit one with an
astonishing gift for racking up points in arcades. It may be hard for the
audience to relate to Tommy, who spends most of the show in the expressionless
mien of a child mannequin. The sensation we experience in the trippy nostalgia
of this 1993 musical’s Broadway revival is closer to that of a pinball: batted
and bounced from one flashy moment to the next in a production that buzzes and
rings with activity. 



Tommy is based, of course, on the 1969 concept album that Pete Townshend wrote
for his band, the Who. The plot of this rock opera is not entirely clear just
from listening, so the stage musical—adapted by Townshend with director Des
McAnuff—reorganizes a few of the songs and fills out the story in a different
way than Ken Russell’s outré 1975 film did. During the overture, we see Tommy’s
father (Adam Jacobs), an officer in the Royal Air Force, get captured by the
German soldiers. (Between this, Harmony, Lempicka, Cabaret and White Rose, it’s
quite a year for Nazis in musicals.) When Captain Walker returns to his wife
(the very fine Alison Luff), he winds up killing her brutish lover in
self-defense. The four-year-old Tommy, who witnesses the crime, takes his
parents’ panicked admonitions—”You didn’t hear it / You didn’t see it / You
won’t say nothing to no one”—too much to heart.



The Who’s Tommy | Photograph: Courtesy Matthew Murphy

The somewhat Pippin-like voyage of self-discovery and showbiz disillusionment
that follows has the feel of a fable or allegory, though exactly what it means
is up for interpretation. As a character, Tommy is highly passive and impassive:
When he is not being ushered from event to event by members of his family, he
stares into the mirror to connect with his inner children—until, cured of his
affliction, he rises briefly to extreme extroversion as the leader of a cult. 

Tommy’s blankness means we can project a lot onto him. More clearly than ever,
Tommy strikes me as the quasi-autobiographical story of a queer artist’s
development. As in the classic Freudian model, a sensitive little boy—who is
played, as in 1993, by a little girl—has an absent father and a dominant mother,
and becomes trapped in a narcissistic fixation. His parents try to change him
through religion (“How can he be saved / From the eternal grave?”), medical
treatment (“There’s a man I’ve found could remove his sorrow”) and even a visit
to a strung-out prostitute who calls herself the Acid Queen (“If your child
ain’t all he should be now / This girl will put him right”). Meanwhile, unable
to tell anyone about his plight, he is molested by his tippling uncle (John
Ambrosino) and mercilessly bullied by a sadistic cousin (Bobby Conte) and other
local toughs. Only later is he able to transmute his pain into expression,
leading to mass stardom and screaming fans.



The Who’s Tommy | Photograph: Courtesy Evan Zimmerman

All of the above is conjectural: Tommy’s rainbow arc remains, at most, hazy. But
the musical’s individual beats hit cleanly. Townshend’s score delivers punch
after punch of classic rock, threaded together with emotional motifs, and it is
sung powerfully by Bourzgui and the rest of the cast, which includes Christina
Sajous as the Acid Queen and Sheldon Henry as her pimp. McAnuff has retained
some signature elements of his original staging, such as the white boxes, while
souping up the rest as a sleek, creepy retrofuturist playground for his superb
designers: David Korins (set), Peter Nigrini (projections), Sarafina Bush
(costumes), Amanda Zieve (lighting) and Gareth Owen (sound). Choreographer Lorin
Latarro is the production’s most valuable player; because the songs are mostly
short and ambiguous, much of Tommy is effectively a dance show, and Latarro
comes through with remarkable numbers—the Broadway season’s best choreography to
date—that are executed with thrilling energy and skill by the ensemble. 

The deaf and blind would miss a great deal of what makes Tommy work, but it
might actually help to be a little dumb. It’s best, at least, not to think too
hard about this show, which is dramaturgically unwieldy—drawn out in the first
act, rushed and overstuffed in the second—and sometimes doesn’t make sense.
(McAnuff sets a big chunk of it in “the future,” which the projections make
clear is our future, even though the action is explicitly set in post–World War
II England.) And yet, despite these problems, the show works, and its epic
choral finale somehow feels genuinely rousing and healing. As musical theater,
Tommy is limited. On its own terms, it’s often sensational. 

The Who's Tommy. Nederlander Theatre (Broadway). Music and lyrics by Pete
Townshend. Book by Townshend and Des McAnuff. Directed by McAnuff. With Ali
Louis Bourzgui, Alison Luff, Adam Jacobs, John Ambrosino, Bobby Conte, Christina
Sajous, Sheldon Henry. Running time: 2hrs 5mins. One intermission. 

Follow Adam Feldman on X: @FeldmanAdam
Follow Time Out Theater on X: @TimeOutTheater
Keep up with the latest news and reviews on our Time Out Theater Facebook page



The Who’s Tommy | Photograph: Courtesy Evan Zimmerman

Written by Adam FeldmanThursday March 28 2024
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DETAILS

Event website:tommythemusical.com
Address:Nederlander Theatre208 W 41st StNew York10036
Cross street:between Seventh and Eighth Aves
Transport:Subway: A, C, E to 42nd St–Port Authority; N, Q, R, W, 42nd St S, 1,
2, 3, 7 to 42nd St–Times Sq
Price:$69.75–$319.50


DATES AND TIMES

Wed, May 15, 20242:00 PMNederlander Theatre $69.75–$319.50
Wed, May 15, 20247:00 PMNederlander Theatre $69.75–$319.50
Thu, May 16, 20247:00 PMNederlander Theatre $69.75–$319.50
Fri, May 17, 20247:00 PMNederlander Theatre $69.75–$319.50
Sat, May 18, 20242:00 PMNederlander Theatre $69.75–$319.50
Sat, May 18, 20248:00 PMNederlander Theatre $69.75–$319.50
Sun, May 19, 20243:00 PMNederlander Theatre $69.75–$319.50
Tue, May 21, 20247:00 PMNederlander Theatre $69.75–$319.50
Wed, May 22, 20242:00 PMNederlander Theatre $69.75–$319.50
Wed, May 22, 20247:00 PMNederlander Theatre $69.75–$319.50
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