The Who’s “Tommy” rings, dings and sings like a “Pinball Wizard” during Goodman relaunch

Photos provided by Liz Lauren

Even before it officially opened, the Goodman Theatre’s reworking of The Who’s “Tommy” was already extended twice due to overwhelming demand, and if the rousing reaction from those who saw the 1969 rock opera recording turned 1975 movie and 1992 musical firsthand was any indication, it will probably be staying put for quite a while.

Actually, there is one more destination if music/lyrics/book writer Pete Townshend and co-writer/original director Des McAnuff have their way, and it’s a Broadway revival, which now that the Windy City staging rings, dings and sings like a “Pinball Wizard” is just as likely to happen.

In the meantime, the tale of “that deaf, dumb and blind kid” Tommy Walker gets a 21st century facelift, never at the expense of any essential aspect, but reframed with the utmost relevance to reflect the current issues of today.

After all, not many surrounding the Woodstock generation were really talking about trauma, mental health and many forms of abuse, which perhaps points to the prophetic nature of The Who’s deeply personal principal creator.

Nonetheless, after witnessing a murder, Tommy, whose adult version is brilliantly portrayed by the Roger Daltrey-like Ali Louis Bourzgui, goes so far into his shell, no amount of doctors, priests or even the Acid Queen (Christina Sajous, who picks up the baton from the late Tina Turner) can help.

As a result, his parents (played empathetically by Adam Jacobs and Alison Luff) almost give up hope, but not before one last ditch effort when Walker is abruptly awoken from his haze and finally able to proclaim “I’m Free.”

Though earlier versions propelled a cured Tommy towards a life as a messianic/cult-like leader and it’s unclear what exactly he becomes this time through, the transformation appears to be some sort of super celebrity or influencer who attracts a massive and often obsessed fan base.

Either way, the titular character’s magnetic pull and subsequent media interest is undeniable, prompting both moments of friction (“We’re Not Gonna Take It”) and resolution (“See Me, Feel Me”), alongside a chilling chance to sing-a-long (“Listening To You”) as one of the most iconic concept collections makes history all over again.

The Who’s “Tommy” continues at the Goodman Theatre through Sunday, August 6. For additional details, visit GoodmanTheatre.org.