‘The Who’s Tommy’ Broadway Review: Still A Sensation

The Who’s Pete Townshend has put a dampener on any hopes for a farewell tour, saying that he was being “sarcastic” when he hinted at the idea.It comes as both he and the band’s frontman Roger Daltrey have spoken about what the future holds for the iconic rock group in recent weeks, and hinted that their time as a band may be drawing to an end.Initially, it seemed that the band were planning a farewell tour to end their touring days with a bang, with the guitarist stating last month that The Who have one “final” thing left to do before they call it quits. “It feels to me like there’s a final tour where we play every territory in the world and then crawl off to die,” he said.

What “Lempicka,” the mystifying new musical about Polish painter Tamara de Lempicka, needs more than anything else is turpentine.Two hours and 30 minutes, with one intermission. At the Longacre Theatre, 228 W. 48th Street.Gallons and gallons of it.Unfortunately, having garishly blared open Sunday night at the Longacre Theatre, it’s far too late for the creators to start over again on a blank canvas.And so, the ugly splatter that audiences are left to parse is a ridiculous two-and-half-hour Eurovision act with stratospheric delusions of grandeur.

The Nance, directed by Nick Olcott.With careful discretion, Chauncey arranges an assignation for later with the younger man, Ned, a whippersnapper fresh from Buffalo played with aw-shucks joie de vivre by Patrick Joy.While an opening scene set at the Irving Place Theatre establishes Douglas Carter Beane’s well-plotted comedy-drama within the world of 1930s burlesque, the automat scene succinctly, incisively characterizes Chauncey and his compromised existence as a practicing homosexual at a time and place where that could easily get you arrested.It’s also a time when he might happen to get arrested for doing his job as a burlesque performer who specializes in a pansy act, camping it up onstage as the flamboyantly gay stock character known as “the nance.”The play — a winner of three Tonys in its original Broadway production starring Nathan Lane — finds Chauncey and his fellow artists of the burlesque revue at the Irving Place squarely in the sights of city authorities cracking down on these risqué cabaret showcases for ecdysiasts and vaudeville comedians.There’s a great montage in Singin’ in the Rain during the “Broadway Melody Ballet,” showing the rise of Gene Kelly’s Don Lockwood from burlesque hoofer to vaudeville showman to Broadway headliner. The quality of refinement in Don’s costumes, choreography, and chorus girls steadily sparkles brighter, along with Don’s million-dollar smile as he ascends to the top.The denizens of The Nance dwell near the bottom of that stairway to paradise, on the seedier side of Manhattan.

“The Who’s Tommy” on Broadway, Townshend’s musical in which the young phenom rocks out as the title “deaf, dumb and blind kid” who becomes a worldwide sensation.Bourzgui is on the verge of major things as well — thankfully less dramatically so than Tommy.His Broadway debut is a knockout — the most exciting of the last several years. The actor’s reviews last month were euphoric (including a four-star rave from The Post), and it’s impossible to find a theater agent in town who doesn’t desperately wish he was their client.Townshend, who first watched Bourzgui tackle the complex role of Tommy Walker at Chicago’s Goodman Theatre in the summer of 2023, said he was born for the part.“Ali hasn’t required the kind of rock ’n’ roll anointment that I have provided to some of the actors in Tommy in the past,” Townshend told The Post.

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Prime Video’s “Fallout” is here. Now streaming, “Fallout” is similar to HBO’s Emmy-winning “The Last Of Us” in the sense that it’s also a dystopian series based on a popular video game. Aside from the inevitable comparisons, “Fallout” is different enough to stand on its own.

the musical “The Outsiders,” which opened Thursday night at the Bernard B. Jacobs Theatre, would include a song called “Stay Gold,” I laughed.Wouldn’t you? The words “Stay gold, Ponyboy,” from author S.E.

Broadway’s busy spring was reaching peak bloom last week as the season’s final batch of new shows – save for the upcoming Sufjan Stevens musical Illinoise – was in previews, boosting total box office receipts to an impressive $39,445,823.

since her bitter divorce from Pitt, not appearing in many movies since 2019’s “Maleficent: Mistress of Evil.” About Vivienne producing the play, Jolie told People, “Viv reminds me of my mother in that she isn’t focused on being the center of attention but in being a support to other creatives,” she said, referring to actress Marcheline Bertrand, who died of cancer in 2007 at 56. “She’s very thoughtful and serious about theatre and working hard to best understand how to contribute,” Jolie added. Based on the 1967 novel by S.E.

No dart gun, or First Omen, or Monkey Man will put Legendary/Warner Bros’ Godzilla x Kong: The New Empire to sleep this weekend. The pic, after an unexpected $80 million Easter weekend start, will continue to rumble with a 55%-60% second-weekend drop to between $32M-$36M. Through four days, the Adam Wingard-directed Monsterverse title stands at $87.7M, fueled by 57% of K-12 schools out Monday and another 14% colleges. Expect more cash today as, per Comscore, there are 28% of K-12 school out, and 5% universities.

Broadway box office soared last week, as five productions joined the roster, one returned and no fewer than 30 of the 32 shows saw attendance at 90% of capacity or more. Twenty productions were sell-outs.

More than just a dramatist and storyteller, Oscar-winning director Ang Lee (“Brokeback Mountain”) is an innovator in the vein of James Cameron and has always been quick to test new filmmaking technologies. Lee has been eager to experiment with early motion capture technologies, as he did the mo-cap himself for his movie “The Hulk” and the exceptional 3D and CGI used in his acclaimed “Life of Pi.” More recently, the filmmaker embraced things like 3D and high frame rates in his films “Gemini Man” and “Billy Lynn’s Long Halftime Walk.” However, in a recent interview with IndieWire, the director said he’s soured on the technologies and won’t return to them anytime soon, specifically 3D.

Zack Sharf Digital News Director Ang Lee is moving on from 3D filmmaking after a trio of hit or miss releases: “Life of Pi” (2012), “Billy Lynn’s Long Halftime Walk” (2016) and “Gemini Man” (2019). The former title was an acclaimed blockbuster that won Lee the Oscar for best director, while the latter two releases, also distributing in high-frame rate at 120 frames per second, were mostly critical misfires and big financial disappointments. Lee hasn’t made a movie since “Gemini Man.” “I tried higher frame rate and I tried 3D,” Lee recently told IndieWire.

The Who’s Roger Daltrey has reflected on recently turning 80, saying that “he has to be realistic” and that he is “on the way out”. Writing in a “backstage diary” for The Times, the iconic singer expressed his desire to slow down, after recently wrapping up his last year as the active curator of the Teenage Cancer Trust series of shows. “I have to be realistic,” he wrote.

and an inner child is a deeply relatable idea, even in a cuckoosical such as this one.David Korins’ set of spaceship white-neon frames is more streamlined than past “Tommy’s,” but it’s used so deftly by McAnuff, lighting designer Amanda Zieve and choreographer Lorin Latarro to paint lush and kaleidoscopic stage pictures. Most wouldn’t call this musical a dance show, but Lotarro’s thrilling choreography makes a case for that category.

In the wake of Dune: Part Two, Kung Fu Panda 4 and Ghostbusters: Frozen Empire, Legendary/Warner Bros‘ Godzilla x Kong: The New Empire continues to provide momentum to the box office following a lack of event titles in Q1 due to the strikes. Tonight, sources tell us that the Adam Wingard directed monster mash movie is seeing $8M from previews that began at 3PM Thursday in roughly 3,400 locations. That’s arguably the second-best previews ever for a Legendary’s Monsterverse movie following the first 2014 Godzilla which posted $9.3M. That Gareth Edwards directed lizard movie went on to make $38.4M on its first Friday with a 3-day of $93.1M.

Broadway’s first salvo of spring newcomers was more than holding its own last week, with recent arrivals drawing strong audiences.

Pete Townshed has said The Who have one “final” thing left to do before they “crawl off to die” in a new interview.Speaking with the New York Times, Townshend was asked about new music from the band, with the publication pointing out that the band had only done two new albums since 1983 and that Townshend’s last solo album arrived in 1993.Asked if he wanted to create new music, he replied in the affirmative, and said The Who want to do a final world tour.Townshend said: “I do and I think I will,” on being asked about creating new music. He continued: “It feels to me like there’s a final tour where we play every territory in the world and then crawl off to die. I don’t get much of a buzz from performing with The Who.

Editor’s Note: Branden Jacobs-Jenkins’ play Appropriate, starring Sarah Paulson, Corey Stoll and Michael Esper, re-opens on Broadway tonight in a commercial transfer to the Belasco Theatre. The play, starring Sarah Paulson, Corey Stoll, Michael Esper, will run through June 23.

Paul Weller invited Roger Daltrey on stage with him last night (March 24), to perform a live rendition of The Who’s ‘So Sad About Us’. Check out footage below.The moment took place during the closing night event for the 2024 Teenage Cancer Trust gig series, dubbed ‘Ovation’. It was billed as “a celebration of 24 years of gigs” for the charity, and saw live performances from Weller, Daltrey, Kelly Jones, Robert Plant with Saving Grace and Eddie Vedder.Taking place at the historic Royal Albert Hall after kicking off the 2024 concert series on Monday (March 18), soloist and former frontman of The Jam opened the night by performing an eight-song setlist.This started with two tracks taken from his 2018 album ‘True Meanings’: starting the show with ‘Gravity’ and following on with a rendition of ‘Mayfly’.