Translating a rock opera to the stage might seem like a logical sequitur, until one remembers that in this case it is translating an album – in which the storytelling is done almost entirely through lyrics (and may still not be the clearest then) – into an entirely non-verbal medium – a ballet. But this was the task of Quadrophenia: A Mod Ballet, taking The Who’s (well… really Pete Townshend’s) second/third rock opera (depending on whether we count A Quick One While He’s Away) 1973’s Quadrophenia, stripping out its lyrics and replacing guitars, synths and Moonish drumming for an orchestral version of the album by the Royal Philharmonic Orchestra.
While waiting outside, another audience member asked me how many people I thought were there for the music. Having seen at least one The Who T-shirt go by, I suggested this was probably more of an entry-point into ballet for Who-fans than the other way round. I still don’t know if this was the case, but at the very least I suspect the Who fans had a better idea of what was going on through the twenty-two dance sequences set to orchestral versions of Who Songs (mostly, but not exclusively, drawn from Quadrophenia, as Can’t Explain and My Generation also feature).
On the other hand, ballet fans may not care. From the tightly choreographed ensemble set pieces to the small flirtations of a boy and girl (Serena McCall/Taela Yeomans-Brown) or a marriage falling apart, choreographer Paul Roberts and director Rob Ashford bring the noise (metaphorically) to the era, themes, and story of troubled mod Jimmy (Paris Fitzpatrick) and his struggles, be they with his parents (Stuart Neal & Kate Tydman), gangs (Mods Vs Rockers), job, dreams, or different facets of his personality.
The pre-recorded orchestration by Rachel Fuller (also orchestrated by Martin Batchelar) brings out the operatic, soaring nature of the original stadium rockers, bringing drama and emotion out even for those who may not be able to fill in the lyrics from memory.
The dancers and music are heightened by the set, from Nick Hillel’s gigantic projections on the back wall showing crashing waves, drawn-style set, war backdrops or more abstract subjects, to the physical sets, some basic (a sofa, light, armchair and television for a living room), and some more developed: a full side of a cafe or train carriage, with lights (the lighting design is by Fabiana Piccioli) flashing past.
Probably more of an entry point for Who fans than ballet ones, Quadrophenia: A Mod Ballet has more than enough to entertain both thanks to its classic (now in both senses of the word) source material and execution.
Quadrophenia is running at the Festival Theatre until the 14th June. Tickets can be found at: https://www.capitaltheatres.com/shows/quadrophenia-a-mod-ballet/
Reviewer: Oliver Giggins
Reviewed: 10th June 2025
North West End UK Rating:
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