Robert Tanitch reviews Pete Townshend’s Quadrophenia, a Mod Ballet, at Sadler’s Wells Theatre, London.

Robert Tanitch reviews Pete Townshend’s Quadrophenia, a Mod Ballet, at Sadler’s Wells Theatre, London.

In 1973 Pete Townshend wrote a multiple million selling double album, the most iconic rock opera album of its day. It went on to be a cult film with Phil Daniels and Sting. 50 years on, it’s now a ballet and as popular as ever. Fans of The Who were out in force.

Quadrophenia is about a specific generation growing up in the 1960s mods and rockers era. It’s a brash portrait of disaffected rebellious working-class youth and adolescence, full of anger and anxiety, struggling to find identity. A teenager has a split personality: romantic, aggressive, disillusioned and idealistic.

The exhilarating score is orchestrated by Rachel Fuller (Townshend’s wife) and by Martin Batchelar. It is played and recorded by the Royal Philharmonic Orchestra who give it the full blast.

Quadrophenia, full of raw, arrogant, muscular energy, is much nearer to dance theatre than ballet. The movement, athletically vigorous and gang-led, is repetitive. There are lots of high lifts, leaps and rolling on the ground. The choreographer is Paul Roberts.

A train scene and a war scene stand out. The climax is the notorious mods and rockers battle on Brighton’s beach. The finale, which takes place on a solitary rock, is an over-extended solo which runs out of ideas.

The awesome crashing waves on screen get Rob Ashford’s production off to a powerful visual start. Christopher Oram is the designer. The video designs by YEASTCULTURE. ORG are continuously exciting. Quadrophenia looks and sounds spectacular.

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