Review Roundup: Critics Sound Off On Goodman Theatre's THE WHO'S TOMMY

What did critics think of The Goodman's summer musical The Who’s Tommy? Reimagined for a new audience 30 years after the original production opened on Broadway.

The original Tony Award-winning co-creators reconvene to tell the story of Tommy Walker for 2023 audiences—with music and lyrics by Pete Townshend and book by Townshend and Des McAnuff, who also directs. The extension week schedule of performances appears below. The Who’s Tommy appears at Goodman Theatre June 13 – August 6 (Opening Night is Monday, June 26) in the 856-seat Albert Theatre; for tickets ($30 - $185, subject to change) call 312.443.3800, visit GoodmanTheatre.org/Tommy or purchase in-person at the Goodman Box Office at 170 N. Dearborn (12 noon – 5pm).

Myth and spectacle combine in this 2023 reimagining of The Who’s 1969 rock concept album, Tommy—including the unforgettable anthems “I’m Free,” “See Me, Feel Me,” “Sensation” and “Pinball Wizard.” After witnessing his father shoot his rival, the young Tommy Walker is lost in the universe, endlessly and obsessively staring into the mirror. An innate knack for pinball catapults him from reticent adolescent to celebrity savior. 

A cast of 29 and a nine-piece band performs the classic songs in an exciting new staging. In title role of Tommy Walker is Ali Louis Bourzgui (Layalina, The Band’s Visit national tour), with Adam Jacobs (Aladdin, Les Misérables and The Lion King on Broadway) as his father, Captain Walker and Alison Luff (Escape to Margaritaville, Waitress and Matilda on Broadway) as his mother, Mrs. Walker. Joining them are John Ambrosino (Les Misérables on Broadway) as Uncle Ernie; Bobby Conte (Company, A Bronx Tale The Musical on Broadway) as Cousin Kevin; and Christina Sajous (SpongeBob SquarePants and Holler If Ya Hear Me on Broadway) as the Acid Queen.

Also joining the cast are Jeremiah Alsop, Stephen Brower, Haley Gustafson, Sheldon Henry, Aliah James, Gabriel Kearns, Tassy Kirbas  Lily Kren, Nathan Lucrezio, Alexandra Matteo, Morgan McGhee, Mark Mitrano, Reagan Pender, Daniel Quadrino, Nathe Rowbotham, Jenna Nicole Schoen, Zach Sorrow, Ayana Strutz and Andrew Tufano. Young Tommy is played as a child and a pre-adolescent by the following actors in rotation: Ava Rose Doty, Presley Rose Jones, Annabel Finch and Ezekiel Ruiz.

The creative team includes choreography by Lorin Latarro (Into the Woods, Mrs. Doubtfire and Waitress on Broadway); music supervision and additional arrangements by Ron Melrose (Jersey Boys on Broadway, London and national tour); set design by David Korins (Hamilton, Beetlejuice, Here Lies Love on Broadway); costume design by Sarafina Bush (for colored girls..., Pass Over on Broadway); lighting design by Amanda Zieve (Broadway associate on Escape to Margaritaville and Allegiance); sound design by Gareth Owen (Back to the Future, & Juliet and MJ The Musical on Broadway); and projection design by Peter Nigrini (MJ: The Musical and Dear Evan Hansen on Broadway). Casting is by Lauren Port, CSA and Rachael Jimenez, CSA. New York casting by Tara Rubin Casting/Merri Sugarman, CSA. Tripp Phillips is the Production Stage Manager and Nikki Blue and Jason Hindelang are the Stage Managers.

A nine-piece band performs the Tony Award-winning original score, featuring Rick Fox (Keyboard/Conductor), Valerie Gebert (Keyboard/Associate Conductor), Bobby Everson (Percussion), Chris Forte (Guitar), Jeremiah Frederick (Horn), Larry Kohut (Bass), Felton Offard (Guitar), Rose Snyder (Keyboard) and Jim Widlowski (Drums).

Let's see what the critics have to say!

Chris Jones, Chicago Tribune: The new “Tommy” is a visually and sonically overwhelming show, but in the positive sense of that word; its spectacle is mitigated by a startlingly accurate sense of its milieu. In the original staging, which I well remember, the images of provincial British life felt less rooted, less actualized and less authentic, even as the show traverses the war years to the 1980s and yet beyond. This time, the requisite stylization still is there but with a far better sense of everyday life.

Catey Sullivan, Chicago Sun-Times: But the heart and soul of Tommy is Bourzgui’s Tommy. He’s on stage practically the entire show, delivering a star-making performance defined by powerhouse vocals and a balletic grace that makes Latorro’s choreography fly. Tommy’s zombie-like affect is the stuff of nightmares, and it makes his eventual breakthrough all the more powerful. 

Misha Davenport, BroadwayWorld: McAnuff’s flawless direction of the cast of 29, coupled with minimal set design by David Korins (HAMILTON), lighting by Amanda Zieve and truly extraordinary projection design by Peter Nigrini, craft an experience that at time feels like a living, breathing work of art that is operatic in scope. If Broadway doesn’t snatch this show up, opera companies should.

Patrick McDonald, Hollywood Chicago: Although the book has some clunky parts … The obsession of Tommy’s father to find a cure for his son is overlong and it is vague why the future Tommy becomes so important … it’s the staging of the story that gives it the power. The look of the production is spectacular, as the minimalist sets are augmented by cutting-edge digital tech that expands the horizons through virtual design (by David Korins and Peter Nigrini). 

Bill Esler, Buzz News: Now McAnuff and Townshend have reimagined the work, updating it for contemporary relevance in a post-COVID environment. McAnuff and Townshend are deeply invested in this project, which has already had its run extended twice in Chicago (it runs through August 6) largely based on pre-opening buzz and strongly established interest in the album. Chicagoans are advised to catch this rare opportunity to see an excitingly fresh version of “The Who’s Tommy” before it takes off for Broadway in New York.

Barbara Vitello, Daily Herald: And yet, what I will remember most from this expansive incarnation deserving of a Broadway berth is Townshend's stellar score celebrating art's healing power and cautioning against blind allegiance and creeping authoritarianism. Rooted in The Who's trademark propulsive percussion and Townshend's distinctive playing, it delivers everything fans expect: the mammoth sustained chords from the majestic "Pinball Wizard," the twang that ushers in "I'm Free," the glorious distortion, the quiet murmurs.

Scott Gryder, Pick in Six: Ali Louis Bourzgui delivers an enigmatic Tommy, who’s rageful yet warm rock baritone fits the score wholly; however, though he shines vocally and physically embodies a contorted delirium with dedication, Bourzgui lacks the enchanting charisma that could drive a troubled crowd to seek him out as their savior in the final moments. The most standout of the principals is Tommy’s mother, Alison Luff, whose Mrs. Walker so smartly and subtly adds compassion to each of her musical moments, devoting her cause to freeing her son from his tortured state. And it’s Bobby Conte as Cousin Kevin, who, although bullies Tommy in despicable ways, generously belts and riffs with an effortless rock-musical ability. 

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