Review: QUADROPHENIA: A MOD BALLET, Sadler's Wells

The Who is one of the enduring bands from the British Invasion of the 1960s, and in their 1973 album Quadrophenia and its subsequent 1979 film, they captured the brief flourish of Mod culture and the conflicting character of a young teen, Jimmy.

Utilising the original liner notes of guitarist/songwriter Pete Townshend, and orchestrations by Rachel Fuller and Martin Batchelar, Quadrophenia has now morphed into what is described as a 'mod ballet', created "in collaboration with the cast", under the direction of Rob Ashford and choreography of Paul Roberts. 

The stage at Sadler's Wells is dominated by the film and video work of Yeast Culture, opening and closing with the crashing of waves and in between offering location backdrops, newspaper headlines, and more. One piece of video offers a glimpse of Jimmy (beautifully danced and acted by Paris Fitzpatrick) checking out his reflection in a cafe window and almost dancing with himself (shades of the classic Hollywood film, Cover Girl), while another offers a bleak space under the flyover.

Jimmy has four alter egos (the 'quad' of the title, presumably, or a reference to the four members of The Who). The Tough Guy, The Lunatic, The Romantic and The Hypocrite follow and mirror him, or participate in duets, at different times. It takes a while to get used to this and understand who is what and when, and the occasional sense of homoeroticism, but the dancing of Dylan Jones (Lunatic) and Seirian Griffiths (Romantic) offer memorable moments.

Quadrophenia often makes pointed commentary on the life of a teen in the period. Jimmy has a childhood friend who becomes a Rocker (Euan Garrett, who impresses in their duet) but abandons him to 'look good' to head Mod Ace Face (Dan Baines, who is effortlessly dominant with his gang but sadly diminished as he turns out to be a humble bellboy in a swanky hotel). Jimmy also desires the Mod Girl (a sultry Serena McCall) who is a waitress who dreams of fashion and fame.

With costumes by Paul Smith, no less, with the lines of the sharp suits and skirts but given breathable elements and stretchable gussets to accommodate the dancing, Quadrophenia looks great and adds a swagger, strut and flash that can't help but draw you in. The cameo from Royal Ballet principal Matthew Ball as The Godfather (a gifted but arrogant rock star) to the strains of "My Generation" is vibrant but shallow, like the character. He gets the attention, but at the stage door he's a little, peevish man.

For me, the orchestrations (recorded, not live) didn't capture the energy, challenge and majestic sweep of the original album and film soundtrack. "Love Reign O'er Me" is given a strings makeover that captures the melody, and works particularly well in a poignant duet between Jimmy's parents (a brusque Stuart Neal and a deeply touching Kate Tydman) early on. Less successful musically is "5.15", although a busy commuter train is brilliantly brought to life, but audience members were clearly happy and excited to recapture their youth judging by the couple I chatted to on the way out.

Quadrophenia certainly offers a snapshot of a world of factory-line inertia, teenage fantasy, the lure of the open road on a moped, beach fights (the staccato choreography here is great), and adult regret. A scene of Father remembering the war is a little too lengthy, but there are daring movements for Jimmy within some of his duets.

This is a production that is good, but not yet great. It tries to do a little too much and falls short in some of the storytelling, despite having a real sense of heart and commitment. You need the synopsis, and I didn't get how the character of 'Drugs' fitted in with everything else despite an early projection of pills moving in a lively formation.

A lot of imagination, love and money has gone into this, with great video work and powerful dancing, but the orchestrations didn't quite work for me.

Quadrophenia continues at Sadler's Wells until 13 July and then visits The Lowry in Salford.