The first half of Act I of The Who’s Tommy is a spectacular visual feast. A master class of storytelling, visuals, design, direction and choreography. At one point early on the audience audibly gasps. Then the show settles into extended excellence until the finale which blew my mind with its ferocious intensity and focused intent.
I can honestly say I’ve not listened to the record album straight through since the 1970’s. I vaguely remember the movie from 1975. Thirty years ago (30!!) this show won the Tony for Best Musical and I missed it. This incarnation made me fall back in love with this piece. I stood at my seat until the final post-curtain call notes were played prior to exiting the theater.
Director Des McAnuff (Ain’t Too Proud, Jersey Boys) places the action “in the future” and also “in the past”. Like many London artists who grew up jarred by the horrors of World War II, Pete Townshend’s work reflects that agonizing period. By show’s end Mr. McAnuff confronts all of us to face that reality. In addition I saw a pointed contemplation on history repeating itself. “Listening to you, I get the music” leads into “From you, I get opinion / From you, I get the story”. A rock version of Sondheim’s “Careful the tale you tell / Children will listen”.
Many of you will know that Tommy is a boy who is born deaf, dumb and blind. His familial relationships are explored at ages four and ten. Through his problematic Cousin Kevin he discovers that he can sure play a mean pinball. He grows into adulthood and eventually exclaims “I’m Free”. As in any concept album, there are blanks to be filled in both by the show itself and the observer. I was riveted throughout.
All of the creative design elements – scenic, projection, costume, lighting and sound – memorably support the thematic vision. A simple lit mirror is the reflection into Tommy’s unspoken soul. The florescent-like lighting reminded me of Dan Flavin sculptures. Here they shape shift, continually changing scenes and focal points. The color yellow is employed as a sunbeam of hope warming the despair locked inside the unknowable world of a deaf, dumb and blind person navigating an unimaginable journey.
Performances are, almost without exception, outstanding. In his Broadway debut Ali Louis Bourzgui brilliantly captures Tommy’s essence from insular wonder to “see me” rock star. He is ably assisted by Cecilia Ann Popp (age 4) and Quinten Kusheba (age 10). All three connect spiritually on stage and the impact is both heart wrenching and empowering. Their ability to act blind is astonishing.
Tommy’s encounter with the Acid Queen (Christina Sajous) is, believe it or not, satisfyingly understated. The result is a scene which demonstrates her afflictions in a gritty, realistic way rather than as a bright lights arcade spectacle. Ms. Sajous is, nonetheless, “guaranteed to break your little heart”.
Cousin Kevin is portrayed by the always terrific Bobby Conte (A Bronx Tale, Company). His wayward story arc encapsulates the unfortunately familiar tale of misguided, directionless youth influenced by the evils of peer mentality. Adam Jacobs, Broadway’s original Aladdin, believably inhabits the role of Captain Walker with his relentless desire to protect his son while also finding a cure for Tommy’s dilemma.
The very strong performance which disturbingly resonates is that by John Ambrosino as Uncle Ernie. In another smashing Broadway debut, this supporting role transcends more with physicality than with dialogue. This actor gives you enough access to fill in all the troubling blanks and read his mind. That this smaller character’s journey is so transfixing amid this production’s massive visual onslaught is a triumph thanks to Mr. McAnuff’s exquisite balancing between rock arena big and compellingly rendered details.
Another high point is the marriage between the direction and Lorin Latarro’s interesting and varied choreography which nicely conveys both the past and the futuristic themes. The ensemble is used purposely throughout and, unlike many other shows, does not needlessly distract from the central action. This talented group comes across both as real people and as faceless stereotypes as needed. Managing the costume changes backstage would probably be fun to watch.
I was enjoying Tommy so much that I became worried that the end might fizzle out given the cataclysmic senses overload I had already absorbed. How would the show reach a peak? By triumphantly facing ourselves, our humanity, our history, our failings and our hopes head on. The finale is breathtaking, measured, explosive and, like the rest of this fantastic musical, mesmerizing.
The Who’s Tommy is playing on Broadway at the Nederlander Theatre.