Quadrophenia

Quadrophenia is one of the most acclaimed albums, written by one of the most gifted song writers and originally performed by one of the most iconic bands of all time. It regularly features on most best-of rock lists and was the inspiration behind a well-regarded film. With such an esteemed history, conflicting expectations are high for this new musical theatre interpretation.

That the production meets many of the expectations is down to the raw energy that the cast and band bring to the music.

The ‘story’ follows Jimmy, a young Mod in the mid-sixties who’s unhappiness in life and obsessions with music, drugs and girls is embodied by four separate ‘personality’ traits – hence the title. The action is split between London and Brighton, following Jimmy on a journey of self-discovery.

As a creative staging of the album, the production is a crowning success. It’s difficult to find fault with any of the voices or musical flourishes. It brings to life many of rock’s greatest anthems and is almost relentless in its execution. The staging is clever and finds some new and interesting interpretations of the songs.

However, as a piece of musical theatre, it is riddled with plot holes. The album wasn’t too concerned with narrative, relying on sleeve notes and pictures to convey the story. Without any knowledge of the album, the production would make little narrative sense. Even the limited notes in the programme do little more than reveal the location of each act. And as the musical takes it directions from the album, those expecting the story of the film will be completely lost.

There are some very successful elements to this production. The staging relies heavily on choreography and movement and each number makes sense on its own, though there is only a slight flow of a coherent through-line. Outside songs are brought in, mostly to a positive effect, to allow for more character and plot development. And the concept of four actors playing different aspects of the same character works far better than one would imagine.

Pete Townshend turned The Who’s other rock opera, Tommy, into a musical over 15 years ago. For that, he allowed for many changes: alternative lyrics, changed song order, new material and connective dialogue, all of which resulted in a clearer narrative that allowed the piece to stand on its own. For Quadrophenia to succeed as a piece of musical theatre, he must make the same courageous choices he made for that, allowing for needed changes that will theatrically develop the material.

As it stands, this production of Quadrophenia is a stellar presentation of the album but doesn’t quite work as a musical. However, with further development, it could become a relevant and potent piece of theatre that dramatises a turbulent time through some of the greatest music of the last century.