‘Quadrophenia: A Mod Ballet’
For me, if for no one else, the Who completed the important phase of their work in the period that began at the start of 1965 and ended in the middle of 1966, encompassing their magnificent first four singles: “I Can’t Explain”, “Anyway Anyhow Anywhere”, “My Generation” and “Substitute”. I’d add “The Kids Are Alright”, recorded for their first LP but released as a 45 after they’d skipped labels from Brunswick to Reaction. And I can’t dismiss the later “I Can See For Miles” and “Won’t Get Fooled Again”. But I could never enjoy Pete Townshend’s rock operas in the same way, much as I admired his ambition.
So I was surprised by how much I liked the version of Quadrophenia presented at Sadler’s Wells this week: a full-blown ballet production, directed by Rob Ashford, with Townshend’s music rendered in pre-recorded orchestral arrangements by the composer Rachel Fuller, who has been his partner for more than a quarter of a century. No lyrics or dialogue, of course. I liked that. Show, don’t tell.
The dancing, choreographed by Paul Roberts, is wonderful, led by the nervily agile Paris Fitzpatrick as Jimmy and the lustrous Serena McCall as Mod Girl (the roles taken by Phil Daniels** and Lesley Ash in Franc Roddam’s famous 1979 movie version). There’s a warmly welcomed cameo for Matthew Ball as the Godfather, while the peroxide-rinsed Dan Baines takes Sting’s role as the Ace Face.
On stage, in this format, Townshend’s creation seems much closer to West Side Story than in its previous incarnations, particularly when the two gangs sweep back and forth in a recreation of the Mods versus Rockers battles on Brighton sea front, using a freeze-frame technique now familiar from war films. Equally stunning is a sequence evoking the PTSD nightmares suffered by Jimmy’s intolerant working-class dad as a result of his wartime experiences.
All of it is enabled by Christopher Oram’s brilliant set design, sliding back and forth in conjunction with video projections to recreate an office, a suburban home, a coffee bar, a Soho club (the Marquee), train compartments and the Brighton beach and promenade. On my rare outings to the theatre and the ballet these days I’m usually struck by the creativity with which modern resources are deployed, and this was a fine example. The climax, with Jimmy alone on a jetty against the sweeping tide, is something that won’t fade quickly.
Two instrumental bits of original Who recordings are used: “I Can’t Explain” and an extended mix of “My Generation”. Otherwise Fuller’s orchestrations are lush and brassy, and do the job satisfactorily, although they were actually a bit too loud, which might seem a strange thing to say about something based on the music of the Who, in their prime the loudest band I ever heard.
The other criticism would be that the individual identities of the characters playing the four elements of Jimmy’s character — the Tough Guy, the Lunatic, the Romantic and the Hypocrite — are never fully established, however well they’re expressed by the quartet of dancers. Of course they all have to be wearing the same kind of three-button Tonik suits as Jimmy (designed, at Townshend’s request, by Paul Smith), but even subtle colour variations can’t make it clear.
I never thought Quadrophenia contained Townshend’s best music, but this ballet may be its most satisfying iteration. It’s on at Sadler’s Wells until this Sunday (July 13), and it wasn’t quite full earlier in the week, so there may be a few seats left.
* Box office: sadlerswells.com. It’s also at the Lowry in Salford from July 15-19: thelowry.com.
** Thanks to all those who corrected my original mention of Paul, not Phil, Daniels…
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