Dance: Can you see the real me?

Quadrophenia: A Mod Ballet
by Pete Townshend
dancers Paris Fitzpatrick, Curtis Angus, Dylan Jones, Seirian Griffiths, Will Bozier, Stuart Neal, Kate Tydman, Dan Baines, Serena McCall, Euan Garrett, Matthew Ball, Jonathon Baker, Amaris Pearl Gillies, Georges Hann, Anya Ferdinand, Joshua Nkemdilim, Zach Parkin, Yasset Roldan, Taela Yeomans-Brown, Pam Pam Sapchartanan
choreography Paul Roberts
orchestrators Rachel Fuller, Martin Batchelar
director Rob Ashford • sets Christopher Oram
costumes Paul Smith • lighting Fabiana Piccioli
sound David McEwan • video YeastCulture
Sadler's Wells, London • 26.Jun-13.Jul.25 ★★★★

Transformed into a ballet with lush orchestrations, dazzling choreography and inventive stagecraft, The Who's iconic 1973 rock opera remains a profoundly involving tale of self-discovery. The story is set amid the clash between mods and rockers in mid-1960s Brighton, which gives the designers a chance to play with eye-catching colours, settings, lights and costumes. And the narrative carries a strong coming-of-age kick.

Because there are so many characters, following the plot can be a bit tricky without dialog, but the performers and staging carry us right into the story of Jimmy (Paris Fitzpatrick) a London teen who hangs out with his mod friends, attending drug-fuelled raves and concerts in Brighton. But he's frustrated by his dismissive parents (Stuart Neal and Kate Tydman) and hates working a menial job. And he's crushed when the new girl (Serena McCall) he likes takes up with Ace Face (Dan Baines). Frustrated, Jimmy heads back to Brighton determined to end it all. But what he finds there is startling.

From the opening moments, Paul Roberts' choreography catches us off guard with a combination of gentle waves of movement combined with internalised bursts of energy. This creates a sparky sense of Jimmy's connection with his pals, a complex mix of camaraderie and posturing that feeds into their group mentality. The high point is a stunning duet between Jimmy and an old school friend (Euan Garrett) who is now a rocker, as they spiral together soulfully in a seemingly weightless depiction of their deeper bond.

Musically, the arrangements by Rachel Fuller (aka Mrs Pete Townsend) and Martin Batchelar sometimes feel rather overwhelming, adding thunderous guitar licks into an already dense mix. But this cleverly echoes The Who's musical style while punching the emotional beats. Visually, the show relies heavily on projections, which inventively add forced perspective along with some superb set details. The way scenes flicker in and out of each other is very cinematic, and all of this combines beautifully to send Jimmy on an existential odyssey. And Paul Smith's costumes skilfully evoke the period while playing on the anachronism of dancers wearing tight suits. 

Show-stopping moments abound, including the terrific Matthew Ball's knockout solo as The Godfather, performed to My Generation. A reflective sequence in a cafe is gorgeous, as is a stunningly choreographed street fight. And the sexy dream after the interval is a terrific touch. Other elements are perhaps unnecessary, even if they're gorgeous, such as the wartime flashback for Jimmy's dad or a jaunty dance with swimmers at the seaside. And the final scene feels oddly drawn out. But the talent that has gone into this show makes sure that the bigger points come through with real emotional power.

For info, QUADROPHENIA > 

photos by Johan Persson • 25.Jun.25