The Who's Tommy
9 / 10
The deaf and blind would miss a great deal of what makes Tommy work, but it might actually help to be a little dumb. It’s best, at least, not to think too hard about this show, which is dramaturgically unwieldy—drawn out in the first act, rushed and overstuffed in the second—and sometimes doesn’t make sense. (McAnuff sets a big chunk of it in “the future,” which the projections make clear is our future, even though the action is explicitly set in post–World War II England.) And yet, despite these problems, the show works, and its epic choral finale somehow feels genuinely rousing and healing. As musical theater, Tommy is limited. On its own terms, it’s often sensational.
.jpg?format=auto&width=365)
