THE WHO’S TOMMY Broadway Previews- Page 4

[theatregoer3]

Posted: 3/12/24 at 9:25pm

It’s intermission. I’m center orchestra, six rows back. This is not loud. I have no idea what everyone has been talking about. They could turn it up a notch to give it a bit more energy. I’m not kidding.

I can see how this show was well-received regionally but this is not Broadway-caliber. I feel like I’m watching a great regional theater production. The set is serviceable, the staging is messy and doesn’t hold a candle to the original. I don’t get the raves about the choreo. I winced a lot during dance breaks. Bobby Conte is miscast.

I love this show and this story but I wish this had gotten a proper big-budget revival from a new director who could give us a new take. This is Des’ Tommy Light.

[bwayphreak234]

Posted: 3/12/24 at 11:13pm

It’s very rare for me to go into a show without a lot of prior knowledge. I went into this fairly blind, and I enjoyed it immensely. It’s such a unique show, and Des McAnuff’s production runs like a well-oiled machine. I also imagine it will only get even smoother as previews progress.

As for the sound, I did not think it was overly or obnoxiously loud at all. It’s definitely loud, but nowhere near the deafening levels I was expecting based on the reviews from the first few previews. I thought both MJ and Once Upon A One More Time were way louder. I will say some of the lyrics are a little hard to decipher, but I have no doubt that will be corrected.

The cast is tremendous all around. This ensemble is probably getting the best workout in NYC right now! Ali Louis Bourzgui has a stunning voice although he was hard to understand at times. Alison Luff has one of the best voices on Broadway IMO, and she really gets to show it off here.

The set is slick and simple. Lots of projections, but they work. I was sitting in the side of front mezzanine. I highly recommend sitting as centered as possible for this to take in the full projections and production. Had I been any farther to side, I think I would have had a partial view.

All in all, this is in great shape to be such a complex show and production in early previews. I look forward to revisiting this post opening.

[Cape Twirl of Doom]

Posted: 3/12/24 at 11:57pm

Well my Apple Watch thought it was loud enough! The Loud Environment warning popped up during the show saying 30 minutes at that level can lead to hearing loss (which I didn’t see til after since I had turned off alerts during the show.) I don’t remember ever seeing that from another show.

At times the lyrics were hard to understand over the music, but the lighting and staging were so incredible that I really liked it anyway!

[AndrewLlloydWebersButler]

Posted: 3/13/24 at 9:33am

theatregoer3 said: "It’s intermission. I’m center orchestra, six rows back. This is not loud. I have no idea what everyone has been talking about. Theycould turn it up a notch to give it a bit more energy. I’m not kidding.

I can see how this show was well-receivedregionally but this is not Broadway-caliber. I feel like I’m watching a great regional theater production.The set is serviceable, the staging is messy and doesn’t hold a candle to the original. I don’t get the raves about the choreo. I winced a lot during dance breaks. Bobby Conte is miscast.

I love this show and this story but I wish this had gotten a proper big-budget revival from a new director who could give us a new take. This is Des’ Tommy Light."

I was there last night. Best thing I've seen in years!

The set and projections are like a ballet...the staging and choreography is incredible---ON FIRE!

The cast are singing their faces off--I was mesmerized.  I forgot how cool the score is--Rock meets Theatre.  This show is so much more THEATRICAL than most of what I've seen in the past few seasons.  AND I was more MOVED by this version than the last.  They really made it about the family.

 

[kurtal]

Posted: 3/13/24 at 2:40pm

I also saw this last night and am a bit more measured in my response to the show.  I'm still chewing on it (which is usually a good sign for me), so these thoughts might not be fully cohesive.

First, it wasn't nearly as loud as the early reports had indicated.  So it seems like they're working that out.  There are some gunshots in the prologue/overture that were jarring, but the actual musical sound design was on the louder side but not unbearable in any way (to me at least).  That said, I think there are still some big sound issues to sort out.  I particularly struggled with understanding Ali Louis Bourzgui.  He sounded mealy mouthed to me, and I'm not sure if it's a mixing issue or if he's bad at enunciating.  My instinct is that it's the former.  But either way, I lost a lot of his lyrics.

The overall design and direction was, at times brilliant, and at other times a bit perplexing.  They're going for a very retro feel that, by and large, works, but sometimes feels really cheap.  And the pacing of and transitions between certain songs and scenes still needs some work, I think.  The first act was interesting because the whole thing felt like one long overture that culminated in the rapturous release of Pinball Wizard.  The second act felt much more uneven.

In terms of individual numbers, there were some standouts.  Pinball Wizard was, of course, thrilling.  I also really liked Smash the Mirror and the I'm Free sequences.  I thought Fiddle About was staged effectively -- creepy but not crossing any 21st century boundaries.

21 was a little confusing because Allison Luff (brilliant as she is) didn't read young enough for that particular scene.  A slight makeup/hair/wardrobe adjustment would go a long way there.  I didn't find Acid Queen terribly successful.  It wasn't clear what message the direction was trying to convey from that scene in particular.  I also lost the narrative thread a bit from the introduction of Sally Simpson through to Tommy's rejection of his fame/celebrity.  

These are all quibbles though.  Overall, I found the show effective, and I enjoyed the ride.  I went into the show only knowing the concept album -- I'd never seen the musical and haven't spent much time with the original cast album.  So I didn't realize just how operatic the score is -- I kind of expected more standalone songs/scenes.  But the constant forward motion was ultimately really effective -- especially in the first act.  

I'll be interested to see the critical reaction to the piece. I know it got raves in Chicago, but I'm expecting a somewhat more mixed reaction from New York critics.  At the same time, the experience is thrilling enough overall that I won't be surprised if there are, in fact, raves.  I guess we'll see in a few weeks!

[getatme]

Posted: 3/13/24 at 3:57pm

Saw the show Saturday night and liked, didn't love it as a whole. Some really exciting music/vocal moments, but overall I was left pretty cold by the whole thing.

Ali Louis Bourzgui, Alison Luff (that VOICE!), and Adam Jacobs were the real standouts for me. Bobby Conte sounded fine but felt incredibly miscast. Luff in particular gets to show off new shades of her voice and "Smash the Mirror" was thrilling. The ensemble is working their butts off and many of them get great moments to show off their various talents.

The production itself didn't move as sleekly as it clearly wanted to for me, I was driven a bit crazy by the cast bringing out every set piece and placing them all in the exact same place. Some of the projections worked, some were incredibly cheesy in ways it didn't seem like they were meant to be. 

The show was loud, sure, but it didn't feel overwhelming to me in the front mezzanine and after the first 10 or so minutes, I thought the balance between the band and the voices settled very well.

[somecheapfrenchthing]

Posted: 3/14/24 at 11:48am

I went back for a second viewing last night - previously went on 3/9 and loved the show despite, as some others have experienced, feeling a bit pummeled by the sound and having some trouble hearing lyrics. Last night I thought the sound balance and volume were perfect - could hear every word and the music still felt rock-concert loud and exciting (our ears were still ringing a little bit when we left but perhaps because we could actually decipher the lyrics and felt more invested as a result, it felt fine). Great performances all around - wowed and totally blown away by the energy and versatility of this ensemble.

Updated On: 3/14/24 at 11:48 AM

[yyys]

Posted: 3/14/24 at 4:37pm

where are the lottery seats for this?!

[EvanstonDad]

Posted: 3/14/24 at 4:52pm

I saw this production at the Goodman and left it feeling underwhelmed. I saw the touring production of the original, and it goes down as one of the most thrilling things I'd ever seen on stage. So I was willing to give this one a break for not living up to my expectations. The audience seemed to love it, but an (admittedly) small sampling of people sitting around me had not seen the original -- did not even realize this was a revival. So maybe it plays better if you don't have the previous version to compare it to? Mostly I just thought this one looked cheaper and dingier, and it didn't have the mesmerizing fluid stage direction of the original.

[somecheapfrenchthing]

Posted: 3/14/24 at 5:44pm

yyys said: "where are the lottery seats for this?!"

My lotto seats were ORCH L, E17 & E19. If you back up on this thread, you’ll see where some other lotto winners sat. Mostly seems to be far house left in the orchestra. 

 

[BrodyFosse123]

Posted: 3/14/24 at 7:23pm

For those curious about what all the hoopla was with the insanely fantastic original 1993 Broadway production that played the St. James Theatre, here is the original Press Reel and other press material including the Tony Awards performance: 

 

[Miss10036]

Posted: 3/14/24 at 11:56pm

My lottery seat tonight was orch left F15, partial view.  When they say partial view for this one, they mean partial view.  It's still worth it for 40 bucks, but I did miss a decent amount of action.

[dramamama611]

Posted: 3/15/24 at 9:06am

BrodyFosse123 said: "For those curious about what all the hoopla was with the insanely fantastic original 1993 Broadway production that played the St. James Theatre, here is the original Press Reel and other press material including the Tony Awards performance:

 

"

Thanks for posting this. I saw it back in the day, but truly didn't realize how much I'd forgotten! 

[QueenAlice]

Posted: 3/15/24 at 9:37am

Was able to see the production this week. To me it lacked the thrill and fire of the production from the 90s,  It almost felt like a bus and truck tour remount without the bells and whistles. I still love the score, and there are still wonderful things about Des's staging, but I suspect there will be some disparity in enjoyment from NYC crowds who remember the original, superior incarnation.  Maybe my tastes have changed, but I also generally felt this time around like the vision for the show is too literal and needed to be more wild and abstract. This is a rock and roll musical born out of drug trips and rebellion -- and this production felt too clean, slick, and legit to me.

[bwayphreak234]

Posted: 3/15/24 at 10:34am

QueenAlice said: "and this production felt too clean, slick, and legit to me."

I have always found Des McAnuff's shows to be extremely slick and sleek (oftentimes to a fault). I didn't see the original TOMMY, and this new production was my first real and full exposure to the show. I enjoyed it a lot (both the show itself and the production), but I can certainly see how this slicker approach might not be effective for those more familiar with the material.

 

[East Village]

Posted: 3/16/24 at 10:11am

I saw Friday’s preview and visually the show is in great shape. The music & sound is perfect. If anything I thought it should be louder but it builds throughout the first act as it should. 

Every scene with Ali Louis Bourguiz is a revelation however narratively the show is all over the place and incomprehensible at times. If you don’t know the material then Tommy’s transformation into an adult and the entire Sally Simpson story could be lost on you —that’s all the problem with the director. 

I don’t think the show feels regional as some have pointed out but there are no standouts or show stoppers with any of the featured performers — again, they aren’t directed to be that way and that’s a problem. Acid Queen needs to be a show stopper but it’s a mess that doesn’t advance the plot, doesn’t make sense as directed and could be cut! 

But let me get away from the weak parts less this feel like a mediocre review which it is not. If you love the music and love stage design you’ll be in for a treat. I didn’t know you could do things visually like this on stage. I was one of the first to jump to my feet and I don’t think anyone walked away disappointed. 

[RippedMan]

Posted: 3/16/24 at 1:29pm

What visuals are y’all talking about that you’ve never seen on stage before? Having seen the show in Chicago I was underwhelmed by everything. The actors carrying out the set makes it feel regional. 

[BroadwayBen]

Posted: 3/16/24 at 2:06pm

I know the original album and I saw the 93 production.  I've just never understood what TOMMY was about other than some talented rock and rollers getting stoned and writing a messy rock opera.    I've never understood what actual story point was.   Thoughts?  

[somecheapfrenchthing]

Posted: 3/16/24 at 2:48pm

BroadwayBen said: "I know the original album and I saw the 93 production. I've just never understood what TOMMY was about other than some talented rock and rollers getting stoned and writing a messy rock opera. I've never understood what actual story point was. Thoughts?"

By "story point" do you mean it's hard to follow a story/narrative thread or do you mean it's hard to identify what the themes/messages/takeaways are meant to be? Or both? I found the story followable, albeit surreal at times. As far as themes and takeaways, I felt it was pretty rich in messages about trauma, how parents succeed or fail in relating and attuning themselves to children, celebrity idealization and worship (and teardown when they inevitably don't meet divine standards), human hunger (kids & adults) for leadership & "parenting" - for someone who "has the answers" be it a doctor/specialist, a mystic, a celebrity, a political or spiritual leader etc, the general desire for connection... I realize I'm lobbing very broad-strokes themes into the conversation - just don't feel like doing a dissertation on a Saturday afternoon but also want to advocate for the show because I felt very moved by it :) At times I felt it had more integrity and intention than a lot of contemporary musicals written by musical theatre-specific writers, but that's just my take.

 

Updated On: 3/16/24 at 02:48 PM

[pmensky]

Posted: 3/16/24 at 2:53pm

BroadwayBen said: "I know the original album and I saw the 93 production. I've just never understood what TOMMY was about other than some talented rock and rollers getting stoned and writing a messy rock opera. I've never understood what actual story point was. Thoughts?"

I think it’s Pete Townsend’s personal take on relationships and celebrity. It’s about feeling unseen growing up, the allure but eventual emptiness of fame, and the struggle to make real, human connections. 

[SondheimDancer97]

Posted: 3/16/24 at 6:20pm

Saw the show on Thursday evening and was not expecting there to be so much choreography! My mind was blown! Those kids are dancing for their dinner! Absolutely obsessed. We need more shows like this that use dance to do the majority of the story telling!

[PipingHotPiccolo]

Posted: 3/16/24 at 11:32pm

Any insight on whether to go for center rear orchestra (Row M or N) vs. extreme right/left front mezzanine?  The discounted seats at like Row D25 or F28 are tempting, but my gut is to spend more to sit with full view on orchestra.

[veronicamae]

Posted: 3/16/24 at 11:42pm

PipingHotPiccolo said: "Any insight on whether to go for center rear orchestra (Row M or N) vs. extreme right/left front mezzanine? The discounted seats at like Row D25 or F28 are tempting, but my gut is to spend more to sit with full view on orchestra."

I'd recommend sitting as close to center as you can, regardless of distance from stage.

[BentleyB]

Posted: 3/16/24 at 11:54pm

We sat far house right with tickets not advertised as partial view. We could not see half the stage, literally.  The fake proscenium which is unneeded makes the sight lines horrible, which just added to the fact I thought the show was dated and looked like they maybe spent 900.00 on the set.  At the Saturday matinee 3 songs into the 2nd act the sound board died and it took 20 minutes to restart the act.  !2 of us who went were praying they couldn’t restart the show and we would get our money back. Also it was not as loud as been previously mentioned.  We took ear plugs and did not use or need them.  

[theatregoer3]

Posted: 3/17/24 at 9:39am

I've had nearly a week to think about the show and my opinion still stands. This was a regional theater production moved to Broadway.

The original -- which had a much larger budget, big effects, and a larger cast -- revolutionized the use of projections and live video in the theater. Folks went wild for it because it was like nothing they had seen and it mended seamlessly into the story. Since then, this tech has become commonplace in almost all live events. This is a large part of the reason why I think this show needed a new director and a new vision. Something that was innovative and exciting thirty years ago will not have the same impact today. We've seen this with many revivals that are a carbon copy (or cheap knock-off) of the original.