Quadrophenia, A Mod Ballet
★★★★☆ Innovative dynamism
Festival Theatre: Tues 10 – Sat 14 Jun 2025
Review by Hugh Simpson
Quadrophenia, A Mod Ballet, at the Festival Theatre until Saturday, is no mere exercise in nostalgia, but a highly successful piece of dance.
Sadler’s Wells, Extended Play and Universal Music’s new work is based on Pete Townshend’s ‘rock opera’. Paul Roberts’s choreography tells of a troubled young Mod called Jimmy and his run-ins with family, authority and the Mods’ sworn enemies the Rockers.
A scene from Quadrophenia, A Mod Ballet. Pic: Johan Persson
Quadrophenia started out as a concept album in 1973. It has since been a movie (which doesn’t use much of the music) and a musical (which does). A 2016 orchestral reimagining by Rachel Fuller forms the basis of the ballet’s score, and is arguably the production’s least effective element.
The trouble is that few people have ever listened to the classic line-up of The Who and thought they would be improved if only John Entwistle and Keith Moon were replaced by flute, French horn and banks of strings.
Moreover, orchestral versions of rock music often end up with the worst of both worlds. The subtlety of harmonic variations of rock and roll, and the visceral rhythmic power of classical music; rather than the other way about.
righteous clatter
Unsurprisingly (if unfairly), it’s the righteous clatter that heralds the opening of more recognisable versions of My Generation and I Can’t Explain that creates the most excitement.
However, the score, orchestrated by Fuller and Martin Batchelar, does have its attractions. Unavoidably if disappointingly, the music is all pre-recorded, and – despite an unforgiving sound balance at times – it is pretty successful. Love, Reign o’er Me (probably Quadrophenia’s most enduring song) works extremely well as an instrumental piece, with its melody particularly affecting on cello. It has to be said, however, that this song is somewhat overused.
A scene from Quadrophenia, A Mod Ballet. Pic: Johan Persson
If the phrase ‘Mod ballet’ conjures up anything, it is probably the jerky, speed-freak dancing of the Mods themselves. It would be understandable to expect this, or even a production that leans heavily on contemporary dance styles. While there are elements of these, this definitely can be called a ballet, and one that is extremely well danced.
Paul Roberts’s choreography features lots of swooping lines, sweeping emotion and elegant extensions. There’s a conventional beauty to duets between Jimmy (the excellent Paris Fitzpatrick) and his Rocker friend (a charming Euan Garrett), or between Mod kingpin Ace Face (a wonderfully athletic Dan Baines) and the Mod Girl (the impressive Serena McCall). There is also a quiet desperation to Jimmy’s parents (Stuart Neal and Kate Tydman) that is very affecting.
plenty of energy
There is plenty of energy elsewhere – Curtis Angus, Dylan Jones, Seirian Griffiths and Will Boxer play different facets of Jimmy’s personality with vigour, while Jack Widdowson’s rock star The Godfather has bags of vitality.
A scene from Quadrophenia, A Mod Ballet. Pic: Johan Persson
There are hints of Bob Fosse or Jerome Robbins, in snappy group numbers: the Ace Face strutting like a combination of a peacock and Max Wall; a cleverly choreographed train sequence; or a successfully stylised (if overlong) Brighton beach punch-up.
It’s the more heartfelt numbers that leave the biggest impression, however, whether it’s the expressions of Jimmy’s tortured soul or a flashback to World War II by his father. The latter works very well despite having no music at all for a long stretch. Throughout, director Rob Ashford has a grip on the piece’s emotional content that is commendable.
spectacular
The costumes (courtesy of suit supremo Paul Smith) are spot on. The set design (by Christopher Oram) and video design (by Yeast Culture) are spectacular, if tending occasionally to the over-ambitious. Familiarity with the story, or a quick glance at the programme beforehand, is probably necessary to have a handle on the narrative, but this is the case with most ballets.
A scene from Quadrophenia, A Mod Ballet. Pic: Johan Persson
There will certainly be plenty of people who don’t usually go to dance drawn to this, and it is difficult to see how the energy, emotion and sheer dance skill on display would disappoint.
When Townshend wrote the original, it was already looking back ten years, but now the themes – disaffected youth, the need to belong, the problems of masculinity – seem even more relevant.
Running time: Two hours and 10 minutes (including one interval).
Festival Theatre, 13/29 Nicolson St, EH8 9FT
Tuesday 10 – Saturday 14 June 2025
Daily: 7.30pm; Matinees Thurs, Sat: 2pm
Dress to Impress performance: Sat: 7.30pm. Audience members are invited to dress in their finest Mod or Rocker attire. Think swinging sixties’ sophistication, attention to detail and impressive fashion flair!
Details and tickets: Book here.
Access performance Sat 14: 2pm.
Audio described performance and pre-show touch tour at 12.30pm.
A scene from Quadrophenia, A Mod Ballet. Pic: Johan Persson
ENDS
