Review: Quadrophenia A Mod Ballet, Sadler’s Wells

Sadler’s Wells is a magnet for exceptional performances and diverse audiences from the famous, to unsung creatives, emerging performers and dance aficionados. It is currently home to the reimagined 70s Quadrophenia album written by Pete Townshend of The Who.Quadrophenia, a Mod Ballet releases its audience from the compelling lyrics of the seminal album in this lavish orchestration (Rachel Fuller, Martin Batchelar); allowing us to focus on the quality of the musical composition, the artful play of violins and the crescendos that only a full orchestra can immerse one in.

This production envelopes the audience in the poetic elegance of cast and creatives. Each nuance of dance and music carries depth, from sadness, isolation, complexities of mental health, to the joy of friendship and the tumult of aspirations of love. Whilst balletically beautiful, this performance evidences diverse elements of dance, including street, latin and modern pop.

The eloquent pairing of Director Rob Ashford, and Choreographer Paul Roberts brings a fluidity, elegance and yet emotional bearing on the entwined, complex stories of its characters. Will Burton has selected an outstanding ensemble of dancers, with intricate teamwork, effortless balance and opportunity for individuals to shine. Together, they traverse this story of childhood memories, longing, socio-economic limitations, the fervour of battle between Mods and Rockers and the dreamy longing of unrequited love.

Whilst the dancing is sublime, it is the emotional characterisation from Paris Fitzpatrick (Jimmy); Dan Baines (the Ace face), Georges Hann (the soldier) and Matthew Ball (the Godfather) that captivates. Individually, they articulate vivid, relatable storylines from aspirational and mental health challenges, the power of the rock star, loss, alcoholism and PTSD, all to the strutting certainty and prowess of Ball. He effortlessly commands the stage, yet integrates seamlessly with the talented ensemble – embodying leadership, strength and a sexual insouciance, steeped in sensuality.

The ensemble moves effortlessly between dance styles; captivating in the 60s beats’ angular motions before shifting to the complex fight scenes of pain and damage. Their powerful, yet sinuous, athletic beauty is epitomised as swimmers and sun bathers. The many moving parts of the staging (set design by Christopher Oram) allow us to join Fitzpatrick as he contemplates his life/death whilst being surrounded by the sea, the vast body of water being an apt metaphor for the deep emotional conflict, hope, joy and despair that he experiences both within himself and across the many scenarios that we encounter. This is elaborated upon in the play of the waves in projected visuals and dance, the monotony of aspects of life and the dangers of the deep.

This review would not be complete without giving kudos to the Production team. They effectively blend props, staging, lighting, sound, film work and animation sequences. Collectively, they conjure numerous scenes, from moody seascapes, home vistas, the industrial brutality of a factory assembly line, to the hubbub of a busy diner. The costuming by the incomparable Paul Smith allows us to marvel at the form fitting tailoring of suiting, and the impossible flexibility and enviable freedom of each dancer. There are so many layers to each scene, note and movement. This is a show to be enjoyed multiple times, allowing absorption and celebration of their collective professionalism.

Written by Pete Townshend
Choreographer: Paul Roberts
Director: Rob Ashford
Orchestration: Rachel Fuller, Martin Batchelar
Video Design – YeastCulture
Set Design: Christopher Oram
Costume Design: Paul Smith, Natalie Pryce, Hannah Teare
Lighting Design: Fabiana Piccioli
Sound Design: David McEwan

Quadrophenia, a Mod Ballet runs at Sadler’s Wells until Sunday 13 July