Quadrophenia – The Mod Ballet, Theatre Royal Plymouth, until 31 May and touring, 5☆☆☆☆☆. Review: Cormac Richards.

Photo Credit:Johan Persson

Quadrophenia – The Mod Ballet, Theatre Royal Plymouth, until 31 May and touring,

5☆☆☆☆☆. Review: Cormac Richards.

“This is a slick, fully-rounded and heart-wrenching  production.”

In his programme note, director, Rob Ashford  makes direct comparisons between the Mods and Rockers and the Montagues and the Capulets, the Jets and the Sharks; rivalries of great note – some fictional some for real. Set against a backdrop of music originally created in the 1970s by Pete Townshend for ‘The Who’, ‘Quadrophenia; The Mod Ballet’ is an exhilarating, dynamic and emotional story performed and presented in thrillingly engaging fashion. This has all the hallmarks of a classic in the making.

I have never seen the film based on the rock album of the same title, but the story telling is smart and involving, once you grasp that the central role of Jimmy is constantly in a battle with aspects of himself which are presented by sharp suited characters. Previous knowledge is not necessary and to anyone thinking they don’t like the music of The Who, well, the gloriously rich and lush orchestrations by Rachel Fuller (Townshend’s wife), may change your mind. The music is all-enveloping and provides the most wonderful accompaniment to the dance.

Choreographically this is a hugely demanding piece and Paul Roberts has produced movement which is bold, sexy, fun and thought-provoking – the turmoil of Jimmy’s mind is played out through dance and is sometimes uncomfortable to watch, but mesmerising at the same time. The combination of the classically balletic and the very contemporary is perfect.

As Jimmy’s story unfolds, you see his disillusionment writ large; conflict with his parents, hating work and wanting some purpose – seeking solace in the Mod sub-culture he wants love which he cannot find and is conflicted when his best friend is on the other side of the divide; a Rocker. There is a lot packed into the story, but several scenes stand out. The beautifully playful scene in the park set to ‘Cut My Hair’ between Jimmy and is friend is utterly beguiling and tender. As Jimmy’s father slips into a drunken stupor, he recalls his horrific experiences in World War Two and as soldier after soldier is shot dead, he tries to save one of his comrades – his attempt to do so is played out in total silence, the only sound being the panting of the performers; it is simply brilliant. The amazingly stylistic movement which creates the battle on the beach – under a looming Brighton Pier – is accompanied by ‘Dr Jimmy & Mr Jim’ and here there is a bewildering amount to see – it is overwhelming. Take all that with the flying, drug-induced sequence and the crashing waves on the beach – goodness there is a lot in this show.

The projections are masterfully created – angular screens provide extra depth to them – at times it feels like you are watching through virtual reality glasses. Class is provided by Christopher Oram’s set designs and Paul Smith, no less has created a wonderfully evocative wardrobe. Sound and Lighting are first rate and enhance everything – the staging is cracking!

In a performance which combines immense physical and emotional skills, Paris Fitzpatrick is simply brilliant as Jimmy; this experienced young dancer carries youthful vulnerability so well and engages with the audience from the word go until the end. It is a performance to savour and remember. Stuart Neal’s Father has also to tread the tightrope of emotion and the above mentioned sequence is carried off to huge effect. The Ace Face, the Mod who all the gang look up to, is perfectly played with a strutting arrogance by Dan Baines and The Mod Girl – the unattainable focus of Jimmy’s attention -  is wonderfully seductive as performed by Taela Yeomans-Brown. Euan Garrett is another headline performer as The Friend, party to the emotional highs and lows of the story. The other roles and ensemble are peppered with a mix of incredibly experienced performers (including the supreme Will Bozier and the stunning Jonathon Luke Baker) as well as those with less lines on their CV. All give everything to this demanding piece of theatre.

Director Rob Ashford and the whole team should rightly be proud of their achievement. This is a slick, fully-rounded and heart-wrenching  production which hits the heights of both skill and imagination. It is a ballet for this time. Quite brilliant!

Cast

Jimmy – Paris Fitzpatrick

The Tough Guy – Curtis Angus

The Lunatic – Dylan Jones

The Romantic – Seirian Griffiths

The Hypocrite – Will Bozier

The Father – Stuart neal

The Mother – Kate Tydman

The Ace Face – Dan Baines

The Mod Girl – Taela Yeomans-Brown

The Friend – Euan Garrett

The Godfather – Jack Widdowson

Drugs – Amaris Gilles

Psychiatrist – Jonathon Luke Baker

Ensemble – Anya Ferdinand, Georges Hann, Joshua Nkemdilim, Zach Parkin, Yasset Roldan, Pam Pam Sapchartanan, Serene Mccall

Swing – Zack Guest, Alice O’Brien

Creatives

Written by – Pete Townshend

Choreographer – Paul Roberts

Director – Rob Ashford

Music Director – Rachel Fuller

Orchestrator – Rachel Fuller & Martin Batchelar

Video Design – Yeastculture.org

Set Design – Christopher Oram

Costume Design – Paul Smith

Lighting Design – Fabiana Piccioli

Sound Design – David McEwan

Photo Credit -Johan Persson

A Sadler’s Wells, Extended Play and Universal Music UK production