Last Updated on June 27, 2025
Pete Townshend’s Quadrophenia is a Mod Explosion
5.0 out of 5.0 stars
The movement to bring together the worlds of rock music and contemporary dance took another step forward a couple of nights ago with the opening of ‘Quadrophenia, a Mod Ballet’, a dance reimagining on the Sadler’s Wells stage of Pete Townshend’s legendary 1973 rock opera. A previous Sadler’s Wells collaboration with Universal Music UK had already brought about choreographer Kate Prince’s 2020 show ‘Message in a Bottle’ built around the songs of Sting, and Birmingham Royal Ballet’s 2023 ‘Black Sabbath – The Ballet’ further upped the rock’n roll stakes with the Brummie heavy metallers’ tracks such as ‘Paranoid’ being choreographed by Cuban ballet legend Carlos Acosta.
However, ‘Quadrophenia, a Mod Ballet’ and its story of Jimmy and the Mods, is something different to the narrative choreography constructed around the Sting and Sabbath songs. With Quadropheni,a there is an existing story structure which shaped the initial album, a terrific film starring Phil Daniels, Sting and Leslie Ash, and now this ballet.
Rather than using The Who’s original rock recordings, the ballet is mainly set to Rachel Fuller’s orchestral arrangement, first introduced in the ‘Classic Quadrophenia’ concerts and recorded by the Royal Philharmonic Orchestra. This lush, cinematic score provides a new lens through which to experience Townshend’s music, creating a more dynamic and textured experience than the original album. The ability to use a wider instrumental palette than The Who provided creates a richer emotional landscape, which works brilliantly in driving the narrative and framing the dance. For instance, a plangent flugelhorn takes us through the flashback wartime scenes, and a Harmon-muted trumpet gives us a sensual backdrop to Jimmy’s fantasy threesome. Townshend’s melodic writing, when shorn of its rock context, exhibits an unexpected strain of English pastoralism that is lost amongst the pounding of Who drummer Keith Moon’s tom-toms. As well as the orchestrated material, the show uses the Shel Talmy-produced backing tracks for Who classics ‘My Generation’ and ‘Can’t Explain’. The Who’s stripped-back Chicago Blues morphs into rock’n roll destruction as the individualistic instrumental synergy that drove The Who’s sound descends into a deliberate sonic chaos.
The production boasts an ensemble cast of exceptional dancers. Paris Fitzpatrick, in the lead role of Jimmy, is dressed in a parka with the trademark Mod signifier of a target on its back. The story follows Jimmy’s journey through the vibrant, chaotic world of 1960s London, as he navigates tensions within his family, work and the Mod subculture. It is Jimmy’s search for identity that is central to the piece, with his internal struggles being externalised by personifying four facets of his personality—the Tough Guy, the Lunatic, the Romantic, and the Hypocrite—each challenging him as he seeks belonging and meaning.
Paul Roberts’ choreography is virtuosic and athletic, an aggressive, masculinised take on contemporary dance. It synthesises classical technique with hip-hop street dance; there are stylised references to Mod culture, such as Ace revving up a Vespa scooter. Jazz and soul-infused ensemble numbers articulate the mod identity and the fight between the mods and rockers on Brighton beach, which echoes West Side Story, is delivered with precision and vitality.
There are also powerful solos and duets. Mod scene leader The Ace Face, danced by Dan Baines, is lithe and sharp as a razor, and as castanets click, he moves with the swirl of a Toreador’s cape.
Jimmy’s childhood friend (The Friend) played by Euan Garrett is now a rocker and the two boys are torn between their childhood closeness and tribal loyalties.
Serena McCall is The Mod Girl, portrayed with the wide-eyed knowingness of Leslie Ash. She impresses both in duets with The Ace Face and in the sensual fantasy threesome with Jimmy and Ace that also features some blistering blues guitar from Townshend.
A more complex and nuanced relationship is that between Jimmy’s mother, Kate Tydman, and father, Stuart Neal. The father drinks, haunted by memories of the war, and the scenes of them together are tender and argumentative as the erotically entwined couple watches Steptoe and Son on a black-and-white TV.
Director Rob Ashford has assembled an A-list creative team for this production. Costume design is led by Paul Smith, who pays homage to the sharp tailoring of 1960s Mod fashion. Apparently, the tonic suits worn by the male dancers had to be let out in crucial areas to accommodate the athleticism of the choreography.
Christopher Oram’s set design and YeastCulture’s video projections evoke the urban energy of Soho’s The Marquee club and New Piccadilly Café. There are flying video screens, as well as back and front projections, that conjure up the windswept drama of Brighton Beach. We see Jimmy’s existential angst as he sits on a rock surrounded by swirling waves. Particularly stunning is a scene in which Jimmy, floating high as a kite above the stage, is surrounded by animated Picasso-esque line drawings.
I hope this production of Quadrophenia reaches out to a young audience. The night I went was full of young influencers for some of whom The Who and Pete Townshend came from an unknown past. Quadrophenia tells a story that is not only about the 1960s, but that is still relevant and necessary today. The style and substance of this show deserve to resonate with a wide audience. You should see it.
Quadrophenia, a Mod Ballet
Playing from 26/6 to 13/7 – Tickets from £15
Sadler’s Wells Theatre
Rosebery Avenue,
London,
EC1R 4TN
