Quadrophenia: A Mod Ballet

Reviewed by Daniel Johnson at The Lowry, Manchester

Friday night at The Lowry. The Lyric Theatre was packed. A mix of Mods, dance lovers, and first-timers unsure of what to expect. This wasn’t going to be a typical night at the ballet.

From the moment the opening scene hit, it was clear this was something different. The stage opened onto a windswept beach. Not just imagined, but vividly projected with real scenery and crashing waves. It hit you straight away. No build-up, no explanation. Just atmosphere. And it worked.

Tension, identity, movement

This wasn’t a play. It wasn’t a musical. It was dance as emotion. Movement as identity. Jimmy, the central character, doesn’t speak. He doesn’t need to. Instead, we see his inner conflict performed by four dancers, each representing a side of his fractured personality.

At first it feels abstract, but before long you’re following the rhythm of his thoughts. The frustration, confusion and rage is all there. You feel it. It’s physical.

Paris Fitzpatrick was outstanding as Jimmy. His performance was all in the detail. Small movements said more than any line could. There was pain, bravado, vulnerability and moments of stillness that held the whole room.

Design, sound and style

The visuals were smart and unfussy. Mod influences were present in the costuming by Paul Smith, but it never drifted into pastiche. The set design by Christopher Oram gave just enough structure to ground the story, while the digital projection work added atmosphere and place without taking over.

Rachel Fuller’s orchestral reworking of The Who’s original album was powerful. Big, emotional and cinematic. At times, it pulled away from the grit of the original, but the melodies still held weight. “Love, Reign O’er Me” landed hard. A highlight.

A missed opportunity

After recently attending Danny Boyle’s immersive production at Aviva Studios, I couldn’t help but feel slightly underwhelmed by the lack of audience experience outside the auditorium. The foyer was just a foyer. No build-up. Nothing during the interval. For a show so rooted in identity, rebellion and culture, it felt like a chance missed to extend that experience into the space around it.

What others are saying

• The Guardian called it “razor-sharp” and praised the emotional weight of the performance

• Northern Soul said it was “positively thrilling” and highlighted the clever reinterpretation of the music

The production was staged at The Lowry’s Lyric Theatre from 15 to 19 July as part of a UK tour, with ticket prices ranging from £20 to £49. Directed and choreographed by Paul Roberts, the show was created in collaboration with Sadler’s Wells and English National Ballet.

Final word

This wasn’t a nostalgia trip. It wasn’t about Mods and Rockers. It was about identity, pressure, vulnerability and rage. And it did it all without a single word.

If you came for a tribute act, you might have left confused. But if you came open-minded, ready for something raw, stripped back and unapologetically modern, then this Mod Ballet probably hit you right in the chest.

And that standing ovation at the end? It wasn’t just polite. It was earned.