In 1967, The Who created a rock opera that changed the course of music history.
Some 25 years later, The Who’s TOMMY arrived on Broadway, winning 5 Tony Awards and pushing the boundaries of what musical theatre can be. This season, the Amazing Journey resumes in a dazzling new production direct from a record-breaking, groundbreaking Chicago premiere.
Myth and spectacle combine in a fresh reinvention of The Who’s exhilarating 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.
PipingHotPiccolo said: "Four stars from the NYPost in a rave review. I dont remember that bitter critic liking anything before."
He never likes anything, so this review I put quite a bit of stock in.
These reviews definitely give TOMMY a dark horse in the revival race. With all the others opened except The Wiz (and that got mild reviews at best on tour), it could potentially beat CABARET or MERRILY
Check out my eBay page for sales on Playbills!!
www.ebay.com/usr/missvirginiahamm
quizking101 said: "PipingHotPiccolo said: "Four stars from the NYPost in a rave review. I dont remember that bitter critic liking anything before."
He never likes anything, so this review I put quite a bit of stock in.
These reviews definitely give TOMMY a darkhorse in the revival race. With all the others opened except The Wiz (and that got mild reviews at best on tour), it could potentially beat CABARET or MERRILY"
I don't see it. I think these good reviews seal a nomination for Tommy, but it's not going to beat Merrily (or Cabaret I guess, but I think it'll be Merrily)
quizking101 said: "PipingHotPiccolo said: "Four stars from the NYPost in a rave review. I dont remember that bitter critic liking anything before."
He never likes anything, so this review I put quite a bit of stock in.
These reviews definitely give TOMMY a darkhorse in the revival race. With all the others opened except The Wiz (and that got mild reviews at best on tour), it could potentially beat CABARET or MERRILY"
Not gonna happen. These reviews will lead to better business than most everything this season. This is looking to albe a season in which revivals rule over the new musicals.
The NYPOST reviewer who has not liked things that have actually gone on to win the Revival Tony ( he vehemently hated Oklahoma), suddenly being the one to put stock in would be weird logic.
The reviews might help business for a while, but for me this show is similar to Spamalot in that some people will remember the original and say to themselves, "Nah, I don't need to see this."
quizking101 said: "PipingHotPiccolo said: "Four stars from the NYPost in a rave review. I dont remember that bitter critic liking anything before."
He never likes anything, so this review I put quite a bit of stock in.
These reviews definitely give TOMMY a darkhorse in the revival race. With all the others opened except The Wiz (and that got mild reviews at best on tour), it could potentially beat CABARET or MERRILY"
Tommy is not beating MERRILY as Best Musical Revival!
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
Seriously, what is going on with Jesse Green? Of course, critics can have differing opinions, and i always expect some range of ratings to help judge whether to see a show. But, how can a show like Tommy, which got 85-90% positive reviews, which I personally agreed with based on the Chicago run, have such a negative and out-of-range review from the most respected (?) source. He continues to astound me, and it irritates me only because it may discourage someone from getting tickets, who otherwise might have really enjoyed it (based on the average of reviews).
Seriously, what is going on with Jesse Green? Of course, critics can have differing opinions, and i always expect some range of ratings to help judge whether to see a show. But, how can a show like Tommy, which got 85-90% positive reviews, which I personally agreed with based on the Chicago run, have such a negative and out-of-range review from the most respected (?) source. He continues to astound me, and it irritates me only because it may discourage someone from getting tickets, who otherwise might have really enjoyed it (based on the average of reviews)."
inception said: "The reviews might help business for a while, but for me this show is similar to Spamalot in that some people will remember the original and say to themselves, "Nah, I don't need to see this.""
Considering the original production was 30 years ago, that leaves a lot of ticket buyers who never saw it.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Seriously, what is going on with Jesse Green? Of course, critics can have differing opinions, and i always expect some range of ratings to help judge whether to see a show. But, how can a show like Tommy, which got 85-90% positive reviews, which I personally agreed with based on the Chicago run, have such a negative and out-of-range review from the most respected (?) source. He continues to astound me, and it irritates me only because it may discourage someone from getting tickets, who otherwise might have really enjoyed it (based on the average of reviews)."
Critic reviews are one person's opinion and a critic owes nothing to the show or to individual buyers.
Nobody NEEDS to listen to a critic, but some shows might be helped by good critical reviews.
If TOMMY gets good enough WOM and has a savvy enough ad campaign, it may be able to catch on, survive through the fall, return a bit to investors, and then tour.
Kad said: "inception said: "The reviews might help business for a while, but for me this show is similar to Spamalot in that some people will remember the original and say to themselves, "Nah, I don't need to see this.""
Considering the original production was 30 years ago, that leaves a lot of ticket buyers who never saw it."
Helen Shaws review articulates really well how McAnuff's assumption that everyone has seen this story already undermines the production. The more I think about this, the angrier I am about how this production team didnt bother to tell the story.