Date: 30 September 2009
Reviewed at the Theatre Royal, Brighton
If you ever felt that life was pulling you in two directions at once, then an evening in the company of Jimmy, the central character in Quadrophenia, will have you feeling together again in no time.
Jimmy has four distinct personalities and they are played to perfection by four actors, George Maguire (the Tough Guy), Jack Roth (the Lunatic), Rob Kendrick (the Hypocrite) and Ryan O'Donnell (the Romantic). Each displays through his characteristic the desire and struggle to be part of a dramatically changing world. Four facets of a complex teenager, just trying to fit in.
A good read through the very informative programme will assist those with no prior knowledge of Quadrophenia, as there is no dialogue at all in this rock opera. The storyline moves along with the aid of some powerful and, at times, very emotional imagery, accompanied throughout by the pulsating Pete Townsend score.
The youthful band perform on a two tier gantry towards the back of the stage and their incredible enthusiasm for music, most of which was written many years before they were born, is totally infectious and adds extra weight to the atmosphere created by the equally youthful acting company.
Sydney Rae White in particular is a talent to watch. Her powerful and mature voice well exceeds her 17 years and her incredible performance of "Love, reign o'er me" is as poignant as it is powerful. John Schumacher and Kirsty Malone as Dad and Mum feature heavily in the imagery and they, together with Young Jimmy, create some of the more dramatic scenes.
The raw energy of the rest of the band and company, together with costumes and choreography that perfectly reflect the era, make it very easy to be swept back to the time when a bank holiday weekend in Brighton would see thousands of people rioting on the beach and local hotels and businesses being wrecked. A time of conflict both internally and externally for a whole generation.
Even though it is over thirty years since the release of the classic album and film, there is a musical legacy which leaves the show with giant footsteps to fill, but this is a rock opera with serious attitude and the superb company who perform it have the youth, energy, drive, style and talent to fill those footsteps well.
- Paul Lucas-Scott
Date: 17 June 2009
Pete Townshend’s 1973 album Quadrophenia, now following in the footsteps of Tommy with a stage adapatation, is the zenith of the ‘rock opera’ genre. On the surface, it's the story of a confused young man, Jimmy, coming to terms with manhood in the fast-changing world of 1960s Britain, a time when the values and assumptions of the previous generation were being rejected, but without a coherent replacement. Like any cultural shift, the transition was bumpy and playing a part was no easy ride. Jimmy, and those he represents, is a cause and symptom of the times.
It's impossible to separate Quadrophenia from The Who and the cult 1979 film their album inspired. Jimmy himself is a psychotic symbiosis of the four members of the band: the romantic, the hard man, the hypocrite and the lunatic. The question that drives the story is: will Jimmy, and this new generation, be able to build a new Britain if they reject all that went before them? Ultimately, we long that "Love Reign O’er Us" in whatever generation we live.
The cast is strong: full of young exciting actors with powerful voices led by George Maguire, Ryan O'Donnell, Jack Roth and Rob Kendrick as the four sides of Jimmy, ably marshaled by director Tom Critchley. Sophie Khan's excellent set design adds dimension to the mirage of constant movement, while the onstage rock band do just that. The collaboration of strings, trumpet and the usual trio of guitar, bass and drums provide constant tunes, with the added spice of the cast weaving and gyrating around them.
The rock opera genre is not easy on the ears, and there is little respite from heavy rock anthems. The overall effect though is enjoyable: the singing audience evidently enjoying recalling a much-loved era. However, the plot and cast list is a little complex: the lashings of emotion and discontent of Jimmy’s four split personalities is difficult to express only in song and action; at times it is difficult to work out what is going on. Without a decent prior knowledge of what Quadrophenia is about, this musical is a little inaccessible.
- Rebecca Hale (reviewed in Edinburgh)
NOTE: The following FOUR STAR review is from the Manchester leg of this production's tour (see www.whatsonstage.com/northwest)
Judging by the amount of scooters parked outside the Opera House, many who had come along to the first night of the Manchester leg of the Quadrophenia tour were in search of nostalgia. But this production is by no means a literal adaptation of the film 1979 starring Phil Daniels and Lesley Ash - and all the better for it.
This rock opera is set at the height of the mod era and focuses on the life of misunderstood, fashion conscious and music loving teenager Jimmy; a night owl determined to belong, whatever the cost. Essentially, it's a coming of age story set to the iconic music of The Who.
Jeff Young's adaptation does mean that some knowledge of the original album or film will aid your understanding of this stage version. There is no dialogue - the music speaks for itself - and, like a Matthew Bourne dance piece, the cast are reliant on non-verbal cues throughout. For some, this may prove irritating, but compared with a piece of jukebox musical dialogue, signalling yet another shoe-horned hit song, the music-only approach is to be welcomed.
To begin with, the arrival of four facets of Jimmy's personality is a bit too much to handle, as the characterisation early on is quite slim. But as the show progresses, you find yourself warming to each and every aspect of this character and all the actors acquit themselves very well.
George Maguire plays Jimmy the tough guy, and has tremendous vocal ability and illuminates the stage with menace throughout. Ryan O'Donnell is equally as good as the romantic, and Jack Roth and Rob Kendrick get the chance to shine in act two.
The performer of the evening though is Sydney Rae White as 'the girl'. This young actress gives a mature performance, way beyond her years and her "Love Reign O'er Me" is a moving tour de force, making the hairs on the back of your neck stand up. Her stock role as Jimmy's girlfriend is underwritten but she brings depth and light and shade where there is sketchy detail.
Kevin Wathen also deserves a mention as The Godfather, as his vocal ability blows the roof off during many a number. The ensemble keep the action moving along at break-neck pace, ensuring this is one show that never outstays its welcome.
Sophie Khan's set design is very evocative and its corregated feel suits the narrative perfectly as Jimmy is a trapped character, determined to break free and enjoy his life.
Sure, there is much angst and some elements seem a tad dated today. But, the exuberance and enthusiasm of the cast displays raw talent at its finest - reminiscent of Spring Awakening - meaning that one leaves the theatre exhilarated and filled with admiration for both them and the classic tunes they sing.
- Glenn Meads
 |
| Quadrophenia |
Date: 17 June 2009
Judging by the amount of scooters parked outside the Opera House, many who had come along to the first night of the Manchester leg of the Quadrophenia tour were in search of nostalgia. But this production is by no means a literal adaptation of the film from 1979 starring Phil Daniels and Lesley Ash - and it's all the better for it.
This rock opera is set at the height of the mod era and focuses on the life of misunderstood, fashion conscious and music loving teenager Jimmy; a night owl determined to belong, whatever the cost. Essentially, it's a coming of age story set to the iconic music of The Who.
Jeff Young's adaptation does mean that some knowledge of the original album or film will aid your understanding of this stage version. There is no dialogue - the music speaks for itself - and, like a Matthew Bourne dance piece, the cast are reliant on non-verbal cues throughout. For some, this may prove irritating, but compared with a piece of jukebox musical dialogue, signalling yet another shoe-horned hit song, the music-only approach is to be welcomed.
To begin with, the arrival of four facets of Jimmy's personality is a bit too much to handle, as the characterisation early on is quite slim. But as the show progresses, you find yourself warming to each and every aspect of this character and all the actors acquit themselves very well.
George Maguire plays Jimmy the tough guy, and has tremendous vocal ability and illuminates the stage with menace throughout. Ryan O'Donnell is equally as good as the romantic, and Jack Roth and Rob Kendrick get the chance to shine in act two.
The performer of the evening though is Sydney Rae White as 'the girl'. This young actress gives a mature performance, way beyond her years and her "Love Reign O'er Me" is a moving tour de force, making the hairs on the back of your neck stand up. Her stock role as Jimmy's girlfriend is underwritten but she brings depth and light and shade where there is sketchy detail.
Kevin Wathen also deserves a mention as The Godfather, as his vocal ability blows the roof off during many a number. The ensemble keep the action moving along at break-neck pace, ensuring this is one show that never outstays its welcome.
Sophie Khan's set design is very evocative and its corregated feel suits the narrative perfectly as Jimmy is a trapped character, determined to break free and enjoy his life.
Sure, there is too much angst and little plot development and some elements seem a tad dated today. But, the exuberance and enthusiasm of the cast displays raw talent at its finest - on a par with the cast of Spring Awakening - meaning that one leaves the theatre exhilarated and filled with admiration for both them and the classic tunes they sing.
- by Glenn Meads
| Score | Comment | Date |
 | altho the actors worked hard it was disappointing,the vocals were drowned or inaudible for around a third of the play.
this took a lot away from from the viewing experience as you would be trying to concentrate on the vocals rather than taking in the whole scene as at times it was a very fussy stage.
any one who didn't know the plot would & were lost. I turned up with a few hundred other scooterists to the premier in Manchester & the greater majority came away disappointed, the one thing we all agreed on was that the band were good and the musical transitions were excellent.
Did the cast work there socks off Yes.
Did it work as a stage production No.
Would I go back to see it again No.
- alexander | 19 Jun 09 |
| The musical didn't engage the viewer at all - very disappointing - Julie | 17 Jun 09 |
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