But through the use of actors on stage, representing the lead rocker - teens who favored music from the ’50s and another actor who was the lead mod - teens who favored the edgier new music of the 60s, The Who succeeded in transforming a rock ’n’ roll show into a pseudo-Broadway performance.

Backed by a five-piece horn section, The Who were as strong as ever in songs from “The Real Me” to “5:15” to “Love Reign O’er Me.”

While much of the energy remained on stage, the performance and story was enhanced by film clips featuring the anti-hero Jim. Between songs, Jim would appear on film on three large screens in the amphitheater. Jim would narrate elements of his “teen angst” struggle complete with visions of riots, girlfriends and virtual conversations with the crowd at the concert.

Only from the mind of Townshend could this succeed. Only a man who won several Tony Awards for his Broadway production of “Tommy” could produce such a wild concept concert as “Quadrophenia.”

The extra artistic surroundings served as an entertaining odyssey for those in the audience who knew the story of “Quadrophenia.” For those who went to the concert expecting a greatest hits show and weren’t familiar with “Quadrophenia,” it must have been confusing.

In fact, at the end of the two-hour “Quadrophenia” portion of the show, Daltrey said, almost apologetically to the crowd, “I know this isn’t what some of you were expecting.”

But Townshend jumped in on the microphone to explain that “Quadrophenia” is a project that has drifted in and out of the history of the band, which has now spanned nearly four decades. Townshend was not apologetic and in fact implied “Quadrophenia” remains close to his heart as a labor of love.

While the audience was still trying to download the sensory attack of “Quadrophenia,” The Who jumped into a 45-minute encore set featuring some of their biggest hits from other albums.

It started with Daltrey singing “Won’t Get Fooled Again,” while Townshend strummed into an acoustic version of what normally is one of the most electric songs in rock ’n’ roll.

From there, the band soared into power favorites such as “Substitute,” “I Can’t Explain” and “Behind Blue Eyes.”

A startling and sensitive moment came during the performance of “The Kids Are Alright.” The cameras in the amphitheater were now panning the audience and at one point during the song, stopped and focused on a boy about 4 or 5 years old hoisted on the shoulders of an adult in the crowd. The image was displayed on the three large screens at the amphitheater.

Townshend, at that point, belted into the microphone, “Your kids, my kids, all the kids are all right!”

Appropriately, The Who capped the evening with a performance of “Who Are You?”

Bringing home the final chords of “Who Are You” and the tour, it appeared as if Townshend was considering smashing his guitar, a stage trademark that made the band famous. He stopped short of smashing it, but the butt of the guitar was slammed onto the stage, although it’s not clear if it was accidental or intentional.

This was supposed to be yet another farewell tour for The Who. The same promise was made on the 1982 and 1989 tours. Rock ’n’ roll isn’t finished with this band nor is The Who finished with rock ’n’ roll. They’ll appear again in some form or another.

They’ll have to make it quick, all three surviving members are closing in on 60. Their age didn’t show, though. Townshend still swings his windmill arm striking the guitar strings. Daltrey still whips the microphone into a helicopter whirl and Entwistle, who never moved much to begin with anyway, still pulled off a stellar bass solo.

Despite the orchestration of this particular show, The Who still came off as one of the greatest rock ’n’ roll bands in history.