‘The Who’s Tommy’ Broadway review: 4 stars for a galvanizing rock revival

nypost.com:

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. The moves are wide-ranging — from the foxtrot to the robot — and the phenomenal ensemble dons police helmets, stethoscopes, church robes and dystopian metal masks as they inhabit a dizzying number of never-still roles.

Fantastic as the entire cast is, enough cannot be said of Bourzgui. The actor is not only a remarkable time-machine find for a trippy sixties classic, with dangerous eyes like those of Malcolm McDowell’s Alex DeLarge in “A Clockwork Orange.” He’s also got the glam aura of David Bowie and a wholly unique baritone that easily shifts from sensitive to commanding.

And, I suspect, from rock operas to traditional musical theater as well.After the brilliant Michael Cerveris made his Broadway debut as Tommy in 1993, he went onto play towering roles such as Hedwig, Sweeney Todd, John Wilkes Booth in “Assassins” and “Peron” in “Evita,” while originating memorable roles in new musicals like “Fun Home” and “Titanic.”That’s the sort of “amazing journey” I predict for Bourzgui..