Paul Roberts’s adaptation of The Who’s 1973 double album brings themes of identity crisis and masculinity that are just as pertinent now as they were 50 years ago
The Who reinvigorated mod culture when they released Peter Townshend’s ambitious rock opera Quadrophenia as a double album in 1973. Its story – of a young mod called Jimmy in 1960s London, who’s struggling with societal pressures, identity loss, and hates his job as a post-room boy – went on to become a cult 1979 Franc Roddam film: Italian scooters, amphetamines, Chelsea boots.
Over 50 years later, choreographer to the stars Paul Roberts – who’s worked with everyone from Harry Styles to Prince – has turned the material into a “Mod Ballet” set to an orchestral rendition of Quadrophenia by Townshend’s wife, the composer Rachel Fuller. The production is steeped in Sixties culture: dancers don sharp suits designed by Paul Smith, while archival footage of The Who’s heyday is projected throughout.
In 2025, Quadrophenia’s themes of identity crisis and masculinity are just as pertinent as they were 50 years ago. Ideas of the manosphere and Andrew Tate loom large. “Teenagers then and now struggle to find their place in the world,” Roberts says. “Where do you place yourself in society now, with toxic masculinity being prevalent? Young men can learn a lot by absorbing Jimmy’s journey. He portrays this ‘I don’t care’ attitude, but he really wants to prove to the world that he can be somebody.”
Set in 1965, Quadrophenia sees Jimmy quit his job, clash with his parents over his drug use, destroy his Lambretta scooter, and contemplate suicide. “It’s a story of young people trying to find meaning in the wrong places,” says dancer Paris Fitzpatrick, who plays the lead role and is having the time of his life doing so despite the dark undertones. “I am wearing probably the nicest suit I’ll ever wear, and I’m scuffing it every day,” he says.
Townshend himself has been on hand, offering up his own memories of mod life to Fitzpatrick and the rest of the cast who pore over them like “ancient myths”. “I don’t think I’d listened to the album properly,” Fitzpatrick admits. “But I’d have to say I’m a fan now. After getting to know the piece more – even since the first workshop I did – I rewatched the film and listened to the album, and I’ve really enjoyed getting more intimate with all of its nuance and its beauty. It’s epic.”
The production came together quickly with eight weeks of rehearsals and two weeks of technicals before tour dates in Plymouth, Edinburgh and Southampton earlier this year. This month, it officially opens at Sadler’s Wells in London. For select London dates, Matthew Ball, the acclaimed principal dancer at the Royal Ballet, will guest star in the role of Godfather – a rockstar whom Jimmy idolises.
“I’m lucky that I’m dancing to ‘My Generation’,” said Ball, in reference to the band’s early punk-powered hit. “My part is quite small but I get to pack a punch in a short period. I’m playing a rockstar, so there’s a really strong sense of playing with the audience, feeding off their energy, asking for more, you know? It’s a little bit tricky because, of course, we’re still sitting in a theatre with a different energy of how a rock concert would be – but it’s been fun to try and bring that energy to a theatre stage.”
As both an album and a film, Quadrophenia garnered a cult following – many of whom are bound to be intrigued by any production that bears its name today, especially one involving Townshend himself. And while ballet can be an intimidating and increasingly niche art form, Roberts and Ball are encouraging mods from all over to see it for themselves. “We read each other’s body language all day long,” says Ball. “Maybe, you think you don’t know anything about dance and you don’t appreciate it – but if you like Pete Townshend, then trust me, he was dancing on stage when he was performing and it’s not all too different from that.”
