Expectations were high as Quadrophenia – A Mod Ballet opened at Sadler’s Wells. The red carpet was out, plus the posh clothes and the A list guests. There were pockets of Royal Ballet friends and fans, loyal followers of The Who and the curious coming to see if ballet could cut it as ‘Mod!’ Judging by the audience reaction, they were not disappointed.
The cast were selected from many disciplines, headed by Paris Fitzpatrick as Jimmy and Matthew Ball as The Godfather. These two dancers are already distinguished award-winners and their performances in Quadrophenia will certainly be adding to the list. Each seemed the perfect fit for their role. Jimmy, is an unlikely hero, an overanxious adolescent, trying to find himself amidst the stereotypes that circle around him. In effective choreography, Paul Roberts displays the four aspects of his persona: The Tough Guy, The Romantic, The Lunatic and The Hypocrite who shadow and at times initiate Jimmy’s moves which flow in canon. It takes Jimmy until the closing moment in the show to realise, thankfully, that he can be himself – an okay guy!
Fitzpatrick is a dancer of exceptional physical prowess who can also look utterly lost and vulnerable. There are moments of stillness when the doubts and fears are so visible in his eyes that it breaks your heart. His emotions were on the line throughout. The role is a huge challenge as he is seldom off stage. His presence pervades whether he is in the centre or a peripheral observer and Fitzpatrick proves his stature in a performance of total commitment.
Ball has matinee idol good looks and a great deal of charm. With his hair a little ruffled, he dominated the stage as The Godfather. His solo is an athletic virtuoso display accompanied by banks of pulsing lights and is the dance highlight of the show. Jimmy is star struck but the pop idol reveals his shallowness as Ball dismissively scrawls a message on his record sleeve and shows equal disregard for his adoring female fans.
This was a misogynist age and it’s a man’s story with females on the periphery. In Jimmy’s life are, predictably, Mother and very desirable Mod Girl. There is a cleverly choreographed threesome in Jimmy’s bedroom fantasy as Serena McCall appears from beneath the duvet followed by Seirian Griffiths as Jimmy’s romantic alter ego. Later McCall and Griffiths get probably the best duet of the show, a lighthearted pairing on Brighton beach. Amaris Gillies, a dancer I’d have liked to see more of, featured in a cameo role as the wealthy hotel guest in Bell Boy.
Musicians, technicians and creatives covered a two-page spread in the programme and this showed in the quality of production and attention to detail. While the story stays central, the settings work their magic, crossing the interface between film and stage. The Brighton battle between Mods and Rockers fielded some of the most thrilling fight choreography. The setting against a lattice of metal supports and flaring lights which turn to blue as the police arrive. The cast were well equipped with break dance skills, used to electrifying effect in hand-to-hand combat. A nightmare incident happens as Jimmy sees his childhood friend (Euan Garrett), now a Rocker, viciously beaten and can’t bring himself to intervene.
There are other poignant moments, a happy childhood picnic on the beach with Mother and Father, Kate Tydman and Stuart Neal. The interior of Jimmy’s house with Mother and Father, the TV, cans of beer and cigarettes, is backgrounded by a typical London row of terraced houses. Neal has a powerful flashback as he remembers his war days just over a decade before, living the camaraderie as well as the fear and death. The creative team have a field day bringing the horrors of warfare to the stage with frightening realism. Director, Rob Ashford with expertly focused theatrical nous constantly finds the right moment for the right memory.
Sadly, the aspect that did not work for me was the orchestration of the score. Pete Townshend says he loved it, but I missed the raw energy of a rock band. The power of the Royal Philharmonic Orchestra often amplified to a high decibel rating too often plastered over the nuances. Ball’s solo to My Generation was one of the few moments when the energy of the song itself came over.
Roberts, as choreographer, had support from Liam Riddick, Jemima Brown and Kai Tomioka. This arrangement worked admirably to create a wordless narrative that never resorted to mime or gesture but told the story in characters that came across as real people.
It is images of the sea that bookend the performance. A lonely boy with the waves and water making a living backdrop to his turbulent emotions. It’s a beautiful image that delivers the poetry that even the most ordinary life can find.
