Quadrophenia - A Mod Ballet - Revew

Sadler's Wells, London

*****

Written by Pete Townshend

Choreographed by Paul Roberts

Directed by Rob Ashford

Paris Fitzpatrick

Pete Townshend’s Quadrophenia is a glorious fusion of classical modern music, outstanding dance and world class stagecraft that creates an evening of outstandingly provocative entertainment. Playing at Sadler’s Wells, the classic 1973 album that became a movie in 1979, is now translated into ballet under Rob Ashford’s direction and Paul Robert’s choreography.

To be fair, both men have had their visionary work enhanced by the musical foundations laid down by Rachel Fuller’s orchestration that had taken The Who’s legendary album, stripped out the lyrics and let the music sing its own narrative. As a mark of the evening’s pedigree, the backing soundtrack has been recorded by the Royal Philharmonic Orchestra.

Quadrophenia speaks of  Britain’s culture in the 1960s played through the eyes of Jimmy, a teenage Londoner and his post-adolescent journey through desires, frustrations, music and gang culture. This was the Mods v Rockers era, with Townshend’s narrative picking out with pinpoint precision Jimmy’s mental anguish. And as a part of the meticulously created backdrop to this dance, as the Mods battled the Rockers beneath Brighton Pier, there’s more than a hint of West Side Story’s Jets vs Sharks in the conflict.

On the night of this review Jimmy was danced, spectacularly, by Paris Fitzpatrick. Notable characters (though the entire company are outstanding) that impact Jimmy are The Mod Girl (Taela Yeomans-Brown) and The Ace Face (Dan Baines). Townshend’s story also picks out the impact of the horrors of the Second World War on Jimmy’s father, where Stuart Neal delivers a haunting routine.

The stage set may be beautifully simple, but the projections designed by Yeastculture.org are state of the art. Bending our sense of perception and reality, the multi-dimensional imagery elevates the music and dance to a level rarely seen on a London stage. And don’t forget that this ballet’s costumes are designed by the legendary Paul Smith and yes, there is even a Lambretta on stage too!

Quadrophenia as a ballet takes a glimpse of England's history, portraying it with authenticity and unbelievable imagination, with flawless components from both its cast and creative team. Only on for a short while, it is unmissable!

(And dare I ask - any chance of Pete Townshend and Rachel Fuller transforming Tommy into a ballet???)

Runs until 13th July then on tour

Photo credit: Johan Persson

Tommy - Review

Theatre Royal Stratford East, London


*****

Music and lyrics by Pete Townshend

Book by Pete Townshend and Des McAnuff

Additional music and lyrics by John Entwhistle and Keith Moon

Directed by Kerry Michael

Ramps On The Moon’s production of Tommy, directed by Kerry Michael, is a truly wonderful production. As the rock opera created by The Who is famously about a “deaf, dumb and blind kid”, so does this work build upon a cast, at least half of whom triumph in their performance over a range of disabilities.

The story telling is clear and alongside Michael’s deft and moving direction, Mark Smith (himself deaf and who choreographed a stunning Tommy two years ago at Greenwich) again does wonders with his dancework, offering yet even more truth and honesty to the complex moralities of the tale.

The casting is ingenious. Peter Straker’s Acid Queen is astonishing vocally, with a stage presence alone that exudes power and is worth the price of admission! Pete Townshend has even written him a new song in Act 2, that rounds off his character perfectly - and remember: when Tommy first played in the West End in 1979, Straker was the show's Narrator. 

Shekinah McFarlane’s take on Mother is out of this world - this talented performer has a voice that firmly places her in the diva category as she remains one to watch. 

In the title role, Tommy is played beautifully and emotionally by newcomer William Glint. When he sees his father for the first time and shouts out ‘Daddy’, spines tingle. Max Runham sings powerfully as Captain Walker and his scenes with Glint are very touching. Garry Robson is a suitably gruesome Uncle Ernie.

The whole ensemble play, sing and dance many roles throughout the show, with a mention too to Robert Hyman’s sensational band, who break out into character parts as well as playing their instruments.

This Tommy is a magnificent production that serves to highlight the scarcity of disabled people on stage generally and it is a shame that it takes a ground-breaking production like this to point that out. Hopefully more theatre companies will be inspired by this example.

Reviewed by Trevor Davies

Touring until 1st July

Tommy - Review

Greenwich Theatre, London

*****

Music and lyrics by Pete Townshend

Book by Pete Townshend and Des McAnuff

Additional music and lyrics by John Entwhistle and Keith Moon

Directed by Michael Strassen

Ashley Birchall

Amidst the present day plethora of so called "juke box" musicals, in which bands' and singers' back catalogues are ruthlessly plundered to provide musical highlights for a show that is either autobiographical or worse still, downright anodyne in its narrative, it is an absolute joy for London to be re-united with Tommy.

Released in 1969, The Who's brave and stunning concept album was the first (and arguably the best ever) rock opera, telling an original tale of a young boy turned deaf, dumb and blind after witnessing his RAF pilot father, until then missing presumed shot down in a Second World War dogfight, return home unexpectedly after the War and shoot dead his wife's (Tommy's mother) new lover.

Trapped in a life of sensory deprivation, evil and abusive family members heap merciless bullying and sexual abuse onto Tommy's torments until, by chance, he discovers a gift for pinball - and a road to his salvation emerges. Painting a gritty if sometimes psychedelic picture of a post-war Britain struggling to define itself through rock music, Tommy is not only a fabulous work of fiction – it also makes for fascinating social comment.  

I must declare an interest. Having grown up with Tommy as one of my soundtracks to the 1970s, along with hard-wired memories of Ken Russell’s 1975 film adaptation, my expectations (riskily) ran high for Michael Strassen's production at the Greenwich Theatre. Those expectations were not only met, but like Tommy's mirror they were smashed, in a show that offered an all too rare trinity of perfection in song, movement and music.

Credit first to the band. Under Kevin Oliver Jones' direction and guitar work, Lauren Storer on keyboards, bassist Paolo Minervini, with Kamil Bartnik on drums create a sound that offers a beautifully weighted tribute to the original mix, with a rock pulse that could have come straight from a time machine. One minor criticism is that the show’s sound desk still need to get the balance finely tuned.

The Overture’s opening bars set the standard for the rest of the evening. As Jones' band work their way through the score's iconic motifs, Mark Smith's choreography plays out the prologue's complex narrative solely through dance and mime. Smith’s routines are expert in both conception and execution and combined with Strassen's interpretation of the libretto, give rise to tableaux that are breathtaking in their ingenuity, simplicity and brilliance.

In the title role Ashley Birchall leads the company, onstage throughout, with a performance fused with energy and sensitivity. Birchall’s energy in I’m Free complementing the heart rending sensitivity he offers in See Me, Feel Me.  In a role that by definition demands an extensive use of mime and physicality Smith and Strassen had between them coaxed excellence from the young man. Miranda Wilford delivers her usual level of brilliance as Mrs Walker (Tommy’s mother) having to age, both physically and in attitude, from carefree young teenager to a middle aged matriarch, her Smash The Mirror an impressive solo.

Giovanni Spano is every inch a school bully as his Cousin Kevin tortures Tommy, though even his wickedness is trumped by John Barr, whose sensational take on the vile paedophile, Tommy’s Uncle Ernie offers perhaps one of the nastiest characters in the canon. If the lyrics to Fiddle About are shocking, they were matched only by the ghastly yet skilfully undertstated performance of Barr’s toothless menacing molester. Barr’s monstrous creation is enhanced later in act one by Smith’s choreography of Eyesight To The Blind, with both Ernie and Kevin in a Fosse-inspired routine – tatty trilbys replacing the legendary choreographer’s signature bowler hats.

Confined by a modest budget, Nik Corrall’s vision of the show’s sets is masterful. A clever use of rope suggested a domestic living room – whilst the brilliance of the pinball sequence will not be given away in this review.

Only here for three weeks, Tommy is unmissable and up there with the very best of musical theatre on offer in London today. See it, hear it!


Runs until 23rd August
Photo credit: Claire Bilyard