a gorgeously compelling spectacle
Pete Townshend’s “Quadrophenia, A Mod Ballet” is a spectacular reimagining of the 1973 cult film. At its heart is Jimmy, a young man battling with his place in 1960s London, competing Finding solace in Mod culture, complete with sharp tailored suits, and buzzy scooters, he faces up against a fierce rivalry with leather clad and motorcycle wielding Rockers in Brighton.
In this production, directed by Rob Ashford, Jimmy (played by an electric Paris Fitzpatrick) has to contend with an array of complex relationships. First, the four facets of his personality: the Tough Guy (Curtis Angus), the Lunatic (Dylan Jones), the Romantic (Seirian Griffiths) and the Hypocrite (Will Bozier). Then there’s his rockstar idol, Godfather (Jack Widdowson), the aspirational Mod, Ace Face (Dan Baines), and the object of Jimmy’s affections Mod Girl (Serena McCall), as well as his childhood friend, who happens to be a Rocker (Euan Garrett). We also see Jimmy’s working-class parents (Stuart Neal and Kate Tydman), his relationship with them, and their relationship with each other, and his father’s experience with WWII.
The ballet itself is immediately immersive. Set against a glorious orchestral version of the Quadrophenia album by Rachel Fuller, recorded by the Royal Philharmonic Orchestra, the house lights are completely turned off throughout, adding a cinematic quality to the atmosphere. In combination with the deceptively simple set design, and accompanying media visuals, the audience is transported directly into Jimmy’s world, and this intensity does not abate at any point.
Opening with roiling waves and “I Am The Sea” as a background to Jimmy and his personalities, this leads into a scene in the psychiatrists office, and our first introduction to how Jimmy and his personalities are in flux, in “The Real Me”. The choreography from Paul Roberts has the Lunatic and Jimmy first locked in tandem, then rapidly cycling between who’s ‘in charge’ in perpetual movement. This high energy continues throughout the first and second act, whilst varying the extremes of emotional impact. The raucous performance of Godfather, sublimely backlit and catwalk-level of swagger to fan-favourite “My Generation”, contrasts exquisitely with the pin-drop silence in the flashback story of Jimmy’s father and his soldier comrade (Georges Hann) experiencing the horrors of war. The struggle between real world and drug-induced escapism flits back and forth throughout Jimmy’s journey, before reaching an emotional climax upon the rock.
The emotional performances, most notably from Paris Fitzpatrick, are also complemented by the set design, visuals and the costuming. With Paul Smith as costume designer, these were never going to be anything but fabulous, with an array of sharp suits, and parkas, and a lovely homage to the film, with Jimmy’s Fred Perry polo shirt. The appearance of Drugs (Amaris Gillies), in blue sequins was particularly striking, and Ace Face epitomising peak-Mod, in 3 piece suits, and arch looks.
However, if there were any fears that this production would rely on style and nostalgia over substance, these are surely dispelled within minutes. The characterisation is beautifully rendered, without a single word spoken, and testament to the universal themes of Quadrophenia, which are still more than relevant to society today. It’s a testament to this production that this ballet will be enjoyed and understood by those with no prior exposure to the film or knowledge of the culture. As Pete Townshend himself says “We all need to know where we come from. We also need to know where we’re going. This ballet will help you with both those questions”.
Quadrophenia – A Mod Ballet runs at Edinburgh’s Festival Theatre from 10th – 14th June 2025, followed by dates in Southampton, London and Salford. For more details, please see: https://modballet.com/