Review: Quadrophenia: A Mod Ballet (Sadler’s Wells Theatre)
- Dan Sinclair
- Jun 26
- 3 min read
Review by Dan Ghigeanu
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A Mod or a Rocker? Scooter or motorcycle? R&B or Rock ‘n’ Roll? A choice many
people had to make back in the 60s to align themselves with the social structure and
divide at the time. As someone born in the 90s, I have never seen the film nor
listened to the album Quadrophenia. I went into this completely blind, not knowing
what to expect, other than a ballet show, but the question is, will I leave a Helpless
Dancer or will Love Reign O’er me?
Based on the 1973 cult classic by The Who, then adapted into the 1979 film of the same name, Quadrophenia: A Mod Ballet premieres in London after opening earlier this year at Plymouth Theatre Royal. The album and later film defined generations back in the 70s exploring themes of rebelliousness, lost youth, a hunger for belonging and social change but more importantly highlights how pressure from friends, family and society can influence the wellbeing of a young person. An extremely poignant story back then and even more so today!
Written by rock legend Pete Townshend, choreographed by Paul Roberts and directed by Rob Ashford, Quadrophenia is an elaborate, visually exciting show, complimented by superb lightning (Fabiana Piccioli) and clever set design (Christopher Oram) and video design (YEASTCULTURE). The iconic music by The Who is reinterpreted in a prosperous orchestration by Rachel Fuller.
The story follows Jimmy (Paris Fitzpatrick), a young man from London in the early
60s. His split personalities, The Lunatic (Dylan Jones), The Romantic (Seirian Griffiths), The Hypocrite (Will Bozier) and The Tough Guy (Curtis Jones) manifested in the form of shadow dancers in this production, it works enchantingly as we see each of them mirror Jimmy throughout the show and taking control over his actions and movements. This is done through such beautifully crafted choreography that really highlights each struggle on their own.
Portraying such deep mental health issues and social struggles through dance, whilst
still capturing the raw emotions is no mean feat, but this production nails it. Rising star, Paris Fitzpatrick, cements himself as one of the best leading men in ballet with a gut punching performance and exquisite movement. His solo number in Act 1 being one of the highlights of the show, and all his numbers with The Mod Girl (Serena McCall) are heartwarming and tender, with a helping of electric chemistry.
Jimmy struggles with a lot throughout the story; social acceptance, being in love with
someone out of his league, an identity crisis, but one of his struggles started when he was little and it is perhaps the deepest wound for the protagonist. Having a dad too tough for his own good is not the easiest thing to deal with when growing up, trying to find yourself. The Father (Stuart Neal) is struggling with a lot of traumas from the war, drowning himself in alcohol.
We get a sense of how deeply hurt and confused the character is during the first encounter between him and The Mother (Kate Tydman), a wife longing for a husband that, emotionally is no longer there - not knowing how to cope with loss and a new normal after the war. The Father's motivations come later in the ballet, in a war filled visual spectacle, with the soldiers training, bonding and eventually dying leaving The Father as the only survivor of his group of friends. This number incorporates military moves with ballet moves in such a graceful way. It's touching, brutal, and left the audience in tears.
Ace Face (Dan Baines) is the ‘leader’ of the Mods and someone who Jimmy looks
up to, he is the top dog, the peak of coolness. Ace face and The Mod Girl have a few duets together, each one highlight an understanding of the others social status. She's the most popular girl in school, he's the face of the Mods. The Friend (Euan Garrett) is a rocker, the Mods rivals, but he has to balance also being friends with Jimmy. Both men share a charming number, parading their friendship and trust in each other. A trust that is destroyed by the end as a climactic fight culminates between the Mods and Rockers. Blood, petrol, hair gel and spit.
Intricate lighting, innovative choreography, and dazzling visuals makes this number simply remarkable. I will not spoil the ending of the show, but it will leave you with a few questions for the journey back home. With a creatively rich team behind the show and an impressive cast, Quadrophenia: A Mod Ballet is redefining a generation. Whether you are a fan of the album, the cult film or purely a theatre fan, there is a great deal to enjoy about this production after all, we’re all the same ‘n’ we?
Quadrophenia: A Mod Ballet is playing at Sadler's Wells until 13th July.
Photos by Johan Persson.