Despite The Who’s Quadrophenia being set over 60 years ago, Pete Townshend’s themes of identity, mental health, and modern masculinity are just as relevant today.
The album is having a renaissance as Pete Townshend’s Quadrophenia A Mod ballet is being brought to life via dance at Sadler’s Wells East, and Sky News has an exclusive first look.
As Townshend puts it, the album he wrote is “perfect” for the stage.
Image: Pete Townshend
“My wife Rachel did the orchestration for me, and as soon as I heard it I said to her it would make a fabulous ballet and we never really let that go,” he tells Sky News.
“Heavy percussion, concussive sequences. They’re explosive moments. They’re also romantic movement moments.”
If you identify with the demographics of Millennial, Gen Y or Gen Z, you might not be familiar with The Who and Mod culture.
But in post-war Britain the Mods were a cultural phenomenon characterised by fashion, music, and of course, scooters. The young rebels were seen as a counter-culture to the establishment and The Who, with Roger Daltry’s lead vocals and Pete Townshend’s writing, were the soundtrack.
More on The Who
Related Topics:
Quadrophenia the album is widely regarded as an essay on the British adolescent experience at the time, focusing on the life of fictional protagonist Jimmy – a young Mod struggling with his sanity, self-doubt, and alienation.
Townshend sets the rock opera in 1965 but thinks its themes of identity, mental health, and modern masculinity are just as relevant today.
He says: “The phobias and the restrictions and the unwritten laws about how young men should behave. The ground that they broke, that we broke because I was a part of it.
“Men were letting go of [the] wartime-related, uniform-related stance that if I wear this kind of outfit it makes me look like a man.”
Image: Paris Fitzpatrick and Pete Townshend. Pic: Johan Persson
This struggle of modern masculinity and identity appears to be echoing today as manosphere influencers like Andrew Tate, incel culture, and Netflix’s Adolescence make headlines.
For dancer Paris Fitzpatrick, who takes on the lead role of Jimmy, the story resonates.
Image: Paris Fitzpatrick, who takes on the lead role of Jimmy in the ballet
“I think there’s a connection massively and I think there may even be a little more revival in some way,” he tells Sky News.
“I love that myself. I love non-conforming to gender norms and typical masculinity; I think it’s great to challenge things.”
Despite the album being written before he was born, the dancer says he was familiar with the genre already.
“I actually did an art GCSE project about Mods and rockers and Quadrophenia,” he says.
“I think we’ll be able to bring it to new audiences and hopefully, maybe people will be inspired to to learn more about their music and the whole cultural movement of the early 60s.”
In 1979, the album was adapted into a film directed by Franc Roddam starring Ray Winstone and Sting but Townshend admits because the film missed key points he is “not a big fan”.
“What it turned out to be in the movie was a story about culture, about social scenario and less about really the specifics of mental illness and how that affects young people,” he adds, also complimenting Roddam’s writing for the film.
Perhaps a testament to Pete Townshend’s creativity, Quadrophenia started as an album, was successfully adapted to film and now it will hit the stage as a contemporary ballet.
It appears that over six decades later Mod culture is still cool and their issues still relatable.
Quadrophenia, a Mod Ballet will tour to Plymouth Theatre Royal from 28 May to 1 June 2025, Edinburgh Festival Theatre from 10 to 14 June 2025 and the Mayflower, Southampton from 18 to 21 June 2025 before having its official opening at Sadler’s Wells Theatre, London on 24 June running to 13 July 2025 and then visiting The Lowry, Salford from 15 to 19 July 2025.
Acclaimed Italian actress Claudia Cardinale, who starred in The Pink Panther and Once Upon A Time In The West, has died aged 87, according to French media reports.
The actress, who starred in more than 100 films and made-for-TV productions, died in Nemours, France, surrounded by her children, her agent told the AFP news agency.
At the age of 17 she won a beauty contest in Tunisia, where she was born to Sicilian parents, and was rewarded with a trip to the Venice Film Festival, kick-starting her acting career.
She had expected to become a schoolteacher before she entered the beauty contest.
Image: Claudia Cardinale at the Prix Lumieres awards ceremony in Paris in January 2013. Pic: AP
Cardinale gained international fame in 1963 when she starred in both Federico Fellini’s 8-1/2 and The Leopard.
She went on to star in the comedy The Pink Panther and Sergio Leone’s Once Upon A Time In The West in 1968.
She considered 1966’s The Professionals as the best of her Hollywood films.
When she was awarded a lifetime achievement at the Berlin Film Festival in 2002, she said acting had been a great career.
“I’ve lived more than 150 lives, prostitute, saint, romantic, every kind of woman, and that is marvellous to have this opportunity to change yourself,” she said.
“I’ve worked with the most important directors. They gave me everything.”
Cardinale was named a goodwill ambassador for the UN Educational, Scientific and Cultural Organisation for the defence of women’s rights in 2000.
Bannister was initially jailed for four months in September last year – and handed a three-year restraining order.
But he breached it by turning up at Tweedy’s home in December.
In March, he was jailed for 16 weeks at Wycombe Magistrates’ Court for repeatedly going to Tweedy’s Buckinghamshire home while under the restraining order.
During that appearance, the court heard that Tweedy “immediately panicked” and was “terrified” when she saw him outside her home, fearing for the safety of her eight-year-old son Bear.
Bannister killed Rajendra Patel, 48, at a south London YMCA shelter in 2012 and pleaded guilty to manslaughter.
Mr Patel died from an injury to his leg, a court heard.
Tweedy’s former partner Liam Payne died last year in Buenos Aires, Argentina, after falling from his third-floor hotel balcony.
Noel Clarke has been ordered to pay at least £3m of The Guardian publisher’s legal costs after losing his “far-fetched” libel case over allegations of sexual misconduct reported by the newspaper.
The first article, published in April 2021, said some 20 women who knew the actor and filmmakerin a professional capacity had come forward with allegations including harassment and sexually inappropriate behaviour.
Clarke, best known for his 2006 film Kidulthood and for starring in Doctor Who, sued Guardian News and Media (GNM) over seven articles in total, as well as a podcast, and vehemently denied “any sexual misconduct or wrongdoing”.
At a hearing to determine costs on Tuesday, Clarke represented himself – saying in written submissions to the court that his legal team had resigned as he was unable to provide funding for the hearing.
Mrs Justice Steyn ruled that he must pay £3m ahead of a detailed assessment into the total costs to be recovered, which lawyers for the publisher estimated to be more than £6m.
“The claimant maintained a far-fetched and indeed a false case that the articles were not substantially true, by pursuing allegations of dishonesty and bad faith against almost all of the defendant’s truth witnesses,” the judge said.
The sum of £3m sought by GNM was “appropriate and no more than what ought to be reasonably ordered in this case”, she added, and “substantially lower than the defendant’s likely level of recovery”.
Clarke, 49, told the court he used ChatGPT to prepare his response to GNM’s barrister Gavin Millar KC, who asked the judge to order £3m as an interim payment – which he said was “significantly less” than the “norm” of asking for 75%-80%.
The actor described the proposed costs order as “excessive”, “inflated” and “caused by their own choices”, and asked the court to “consider both the law and the human reality of these proceedings”.
He also requested for the order on costs be held, pending an appeal.
“I have not been vexatious and I have not tried to play games with the court,” Clarke said. “I have lost my work, my savings, my legal team, my ability to support my family and much of my health.
“My wife and children live every day under the shadow of uncertainty. We remortgaged our home just to survive.
“Any costs or interim payments must be proportionate to my means as a single household, not the unlimited resources of a major media conglomerate.
“A crushing order would not just punish me, it would punish my children and wife, and they do not deserve that.”
Detailing GNM’s spend, Mr Millar said about 40,000 documents, including audio recordings and transcripts, had to be reviewed as a result of Clarke bringing the case against then. He highlighted a number of “misconceived applications” made by the actor which “required much work from the defendant’s lawyers in response”.
During the trial, the actor accused GNM – as well as a number of women who made accusations against him – of being part of a conspiracy aiming to destroy his career.
This conspiracy allegation “massively increased the scale and costs of the litigation by giving rise to a whole new unpleaded line of attack against witnesses and third parties,” Mr Millar said in written submissions to the court.
Clarke originally asked for damages of £10m, increasing to £40m and then £70m as the case progressed, the barrister said.
He must now pay GNM the £3m within 28 days, Mrs Justice Steyn ruled.
This breaking news story is being updated and more details will be published shortly.