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

The Moonwalkers - Review

Lightroom, London

****

Written by Tom Hanks and Christopher Riley

Directed by Nick Corrigan and Lysander Ashton

An image from The Moonwalkers

The latest immersive audio-visual experience to arrive in London is The Moonwalkers, playing at Lightroom at Kings Cross. For 50 minutes the history and scale and above all achievement of the Apollo rocket launches that sent 12 men to walk on the surface of the Moon is played out in a beautifully compiled narrative.

The event kicks off with 1962 footage of President John F Kennedy pledging to put a man on the Moon. Tom Hanks narrates a commentary that’s factual if a little airbrushed into cosmetic nicety. JFK’s words were stirring but the show makes no mention at all of the space race that pitted USA against USSR in the bid to be the first to reach the Moon.

Throughout, the immaculate sound and projections teach us a lot about the various launches (from 1969 to 1972) and include stunning photography taken from the various Moon visits. The scale and achievement of what was accomplished more than 50 years ago is made clear and there are frequent references to today's Artemis II project that hopes to return astronauts to the Moon’s surface in 2026.

For all its beauty however, The Moonwalkers is more about the Moon and Tom Hanks than it is about the men who actually walked the Moon's surface. While we learn a lot about Hanks’ chilldhood and his passionate interest in the Moon landings – and to be fair, Hanks has been a driving force behind the creation of this show - we learn very little about the 12 Moonwalkers themselves. An immersive analysis of what motivated one or more of those 12 explorers, offering perhaps a glimpse of what gave them the ‘right stuff’ to make the unimaginably brave decision to fly to the Moon (rather than Hank’s recollections of discovering weightlessness in his parents’ backyard paddling pool) would have been fascinating.

But Anne Nikitin’s soundtrack played by the Royal Philharmonic Orchestra is gorgeous and Corrigan, Ashton and Andy Saunders’ work on restoring the images and clips to this 360-degree digital screening is stunning. Lie back on the cushions and lose yourself in outer space. The history is humbling.

Runs until 9th June 2024

Photo credit: Justin Sutcliffe

Spectre In Concert - Review

Royal Albert Hall, London

*****

Composed by Thomas Newman

Conducted by Anthony Gabriele

Directed by Sam Mendes

At the Royal Albert Hall and conducted by the gifted Anthony Gabriele, the Royal Philharmonic Orchestra performed the world premiere of Thomas Newman’s 2015 score for the James Bond film Spectre, played live and synchronised to a screening of the movie.

Composed by Newman alongside filming, the score is both inspired by and honours many of the film’s locations. Memorably, the opening sequence set in full swing at a Day Of The Dead festival alongside local bands in Zócalo Square in central Mexico City, gives the orchestra and in particular the percussion section, full opportunity to embrace the vibe of the occasion.

The titles play to Sam Smith's ballad The Writing's On The Wall, with its dramatic strings content deliciously echoing Monty Norman.  For lovers of the famous franchise, Newman’s work incorporates those familiar, almost expected Bond-sounds and the orchestra deliver magnificently. The powerful accompaniment of the musicians provides added excitement, a supercharged experience in the form of waves of pleasure, aesthetic chills almost, from the musical vibrations generated in the acoustically perfect auditorium. Under Maestro Gabriele’s seasoned baton, the orchestra add another nuanced layer to the viewing experience.

The afternoon closed with the familiar Jazzy big band sound of Norman’s original "James Bond Theme".  One could feel the audience relax into their seats, succumbing to that timeless leitmotif, the applause and standing ovation only defining their appreciation and fondness for this classic music, wonderfully and flawlessly performed.

Reviewed by Lucy Bex