The Who’s Tommy

 The Who’s Tommy
Nederlander Theater
July 3, 2024 

Photo courtesy of The Who's Tommy

The Broadway revival of The Who’s Tommy is spectacular.  Director Des McAnuff, who directed the original production in 1993, brings it back with an outstanding cast.  Pete Townshend’s music is as fresh and exciting as it was on the day it was first released.  Choreography by Lorin Latarro is bold and exciting.

Tommy (played by Ali Louis Bourzgui, Cecilia Ann Popp at age 4, and Quinten Kusheba at age 10) witnesses his father, Captain Walker (played by understudy Mike Cannon), murder his mother’s boyfriend (played by Nathan Lucrezio).  Out of panic, Tommy’s mother (played by Alison Luff) tells him he did not see anything, did not hear anything, and will not say anything.  This sends Tommy into trauma.  He can no longer see, hear, or speak, and spends most of his time staring into a mirror.  Tommy is abused by his Uncle Ernie (played by John Ambrosino), and ridiculed by his Cousin Kevin (played by Bobby Conte).  While at the Youth Center, Tommy is left alone at a pinball machine and starts to play.  He beats all scores, and creates a sensation.  His parents continue to look for a cure for his situation.  They finally decide to send him to a sanitarium.  Out of frustration, his mother smashes the mirror that Tommy stares into, breaking his traumatic spell.  It is hailed a miracle cure, and Tommy becomes a cult phenomenon.  When his celebrity becomes too much for him, Tommy returns home to reconnect with his family and himself. 

Ali Louis Bourzgui as Tommy
Photo courtesy of The Who's Tommy

During Act I, when Cecilia Ann Popp and Quinten Kusheba play the younger versions of Tommy, Ali Louis Bourzgui appears as the voice in his head, the person trapped inside the young boy.  Mr. Bourzgui’s voice and physicality have a mysterious quality that makes these scenes highly effective.  The three actors combine to present a complete understanding of the psychological components that make up of the full character.  Mr. Bourzgui propels the action forward in Act II, then is reunited with his younger self for an emotionally satisfying ending.

"Pinball Wizard"
Photo courtesy of The Who's Tommy

Alissa Luff and Mike Cannon are excellent as Mrs. Walker and Captain Walker.  They have a solid chemistry that bonds them in the first act and causes conflict in the second.  John Ambrosino plays creepy Uncle Ernie with conviction.  His presence is always felt, and his motives are consistently questionable.  Bobby Conte’s Cousin Kevin is bold and energetic.  The character shifts from Tommy’s tormenter to his most ardent supporter, yet his cunning ability to take advantage of Tommy is evident throughout.

The Who’s Tommy is playing at the Nederlander Theatre through July 21.  See it before it closes! 

Domenick Danza

Dr. Zhivago

Dr. Zhivago

The Broadway Theatre

April 10, 2015

Photo courtesy of Dr. Zhivago

Dr. Zhivago is presently in previews and set to open April 21.  The production has a lot going for it.  It is a sweeping, fast-paced show with a strong, bold score, amazing voices, a powerful leading man in the title role, set designs that skillfully utilize technology to create effective atmospheres, and a crisp lighting design.  With all of these effective elements in place, why does the production seem to fall short of the epic greatness it can achieve, and can it be cleaned up before opening?

All the performances are excellent.  Tam Mutu, as Yuri Zhivago, is vibrant and fierce.  He and Lara Lee Gaya, who plays his wife, Tonia Gromeko, create a tender and truthful relationship.  Kelli Barrett, as Lara Guishar, is willful and vocally superb.  Unfortunately, the chemistry between her and Tam Mutu is lacking.  Their visceral attraction needs to juxtapose the decisions they both have made in the past with the restrictions of the future in a crumbling society.  Without this zeal, the plot does not drive forward with the passion and complexity it needs.  In addition, Ms. Barrett’s gestures and facial expression appear relatively contemporary against the stoic façade of the other characters. 

Tam Mutu and Kelli Barrett
Photo courtesy of Dr. Zhivago

Other strong performances that need to be mentioned are Paul Alexander Nolan as Pasha Antipov, Tom Hewitt as Viktor Komarovsky, Jamie Jackson as Alexander Gromeko, and Jacqueline Antaramian as Anna Gromeko.  Most impressive were Jonah Halperin as Young Yuri, Sophia Gennusa as Young Lara, and Ava-Riley Miles as Young Tonia.  These three young actors appear in the opening scene and capture not only the essence of the struggle of their characters, but the full attention and genuine interest of the audience.

The music, by Lucy Simon, and lyrics by Michael Korie and Amy Powers, are sweeping and solid.  The songs transform the action of the scenes and allow the characters to reveal and discover themselves and therefore grow and move the story forward.  All the leads and the ensemble perform this score with amazing skill and clarity.  The song “Somewhere My Love” (Lara’s Theme from the movie) is sung and danced by a group of Nurses, Yuri, and Lara in the first act.  Maybe it was just familiarity, but the song seemed out of place with the boldness and broad strokes of the score. 

Photo courtesy of Dr. Zhivago

The sets, designed by Michael Scott-Mitchell, are epic and classic.  The design expands the limitations of the stage, creating numerous settings ranging from high ceilinged Russian estates to open battlefields.  Tall structures slide in and out and are illuminated and magnified by projections, computer images, smoke, and flame.  Piercing through all of this is a stunning lighting design by Howell Binkley, which focuses your eye on the characters and action, allowing for a more intimate connection within the scale of the production.  Among the lush and realistic setting, were scattered a few questionable images, such as faces of nurses and victims during the war scenes, intoxicating images of the character of Lara, and a portrait (photo) of Lara (the only blonde Russian who only wore blue).  Though effective in making a statement, these images were not consistent with the design of the show.  Another dubious set piece was the wall of chairs at the end of the first act.  Though visually enthralling, its symbolic representation was not palpable.

I have one thing to say to director Des McAnuff: Sightlines, Sightlines Sightlines!  That’s one thing, but said three times for effect.  The opening of the show set the pace for the entire evening.  I have not seen a better opening scene serving this purpose since his production of The Who’s Tommy.  However, since most of the opening was staged for the center section of the orchestra to see, and I was sitting house left (far left), I did not get the full effect.  The first act closing was powerful, but again, the visual effect was missed by anyone sitting orchestra right or left due to the fact that the ensemble was gathered on each side of the stage and the main characters were farther upstage center.  There was a writing table placed down stage right for the entire show.  I liked how this represented in the ever-present poet in the character of Uri Zhivago, yet from where I was sitting, it was constantly blocking anyone standing up stage center, which was the section of the stage where most of the action took place.  I don’t mean to sound like a begrudged TDF ticket holder, but when you cannot see the main action of the play from your eighth row orchestra seat because the ensemble or a prop is in the way, something is wrong with the staging.

Photo courtesy of Dr. Zhviago

The show is a resolute, epic journey that covers the first decades of the twentieth century in Russian history.  The historic events and political conflicts are clearly dramatized.  The first act ran one hour and twenty-five minutes.  The second act ran another hour and twenty minutes.  At no point was the running time an issue.  I definitely got my money’s worth.  I hope they can fix and fine time in the coming week before opening.  Please comment if you see the show after opening night and have a different point of view.

Domenick Danza