Review: Quadrophenia, at Sadler’s Wells
‘Mod ballet’ is an exhilarating production – but fans of the iconic 1979 film may be disappointed
Friday, 4th July — By Lucy Popescu

High-kicking Quadrophenia [Johan Persson]
WRITTEN by Pete Townshend, The Who’s seminal 1973 rock album Quadrophenia inspired the iconic 1979 film starring Phil Daniels. Now it’s been reimagined as “A Mod Ballet”, using an orchestral version of the rock opera by Rachel Fuller (Townshend’s wife), pre-recorded by the Royal Philharmonic Orchestra.
Fans of the film may be disappointed. This exhilarating production favours physical expression over linear narrative and the lack of vocals is initially disconcerting. However, this radical adaptation is designed to win new audiences.
Set in the 1960s we follow the rites of passage of Jimmy (Paris Fitzpatrick), a disaffected teenager searching for self-worth and a sense of belonging.
The show opens on Brighton Beach. Jimmy emerges from the sea accompanied by four aspects of his personality – the tough guy (Dan Baines), the lunatic (Dylan Jones), the romantic (Seirian Griffiths) and the hypocrite (Will Bozier).
Jimmy hates his job on the factory assembly line. His father (Stuart Neal), traumatised by his experiences in the Second World War, drinks to forget. His estranged mother (Kate Tydman) loses herself watching television.
He joins the sharply dressed Mods, a burgeoning youth movement, whose sworn enemies are the Rockers.
Jimmy’s childhood friend (Euan Garrett) is a member of this rival group.
After falling for the Mod Girl (Taela Yeomans-Brown), Jimmy is heartbroken when she rejects him for the Ace Face (Curtis Angus). A seductive dancer in blue (Amaris Pearl Gillies) represents his increasing dependency on amphetamines.
Although the personification of emotions and psychological struggle is occasionally hard to follow, the talented cast and Paul Roberts’ thrilling choreography are a joy.
The period and various settings are vividly realised by Christopher Oram and video designer YeastCulture, with costumes by Paul Smith and evocative lighting by Faviana Piccioli.
A delightful evening concluded among fellow dance-goers in the welcoming Harlequin pub’s pretty courtyard.
Until July 13
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