Quadrophenia A Mod Ballet at Festival Theatre.

Much like Pete Townsend’s windmill, the Mods unravel like street peacocks against the backdrop of the ocean. Their sharp suits, designed by Paul Smith, are a colourful explosion in the opening, moody atmosphere. Paris Fitzpatrick follows in the footsteps of Phil Daniels as the disaffected mod Jimmy. His fishtail parka glides around the stage in elegant bursts of kinetic energy. The speed of life—from soho night clubs to fights with rockers, and trips to Brighton — is beautifully choreographed by Paul Roberts through the clothes and movement.

Dan Baines as the Ace Face brings something of Sting from the 1979 film, directed by Franc Roddam, partly due to his closely cropped peroxide hair and raincoat which swoops, floats, and elevates the status of the top Mod. The Who’s 1973 soundtrack is given a souped-up operatic boom by Pete Townends’s wife, the musical director and orchestrator Rachel Fuller. During Love Reign O’er Me, Stuart Neil as the father, and Kate Tydman, as the mother allow a typically British domestic scene to burst into life. While the story is a celebration of youth culture in all its flaws, the movement, passion, and style of Jimmy’s parents rages against the mediocrity of middle-age.

Jack Widdowson summons power and punches as the Godfather and bursts with swagger and attitude. He pulls off rock-star energy with panache and a multitude of memorable moves. The stage door scene with Jimmy is equally frantic, fusing his disappointment and anger at the world as well as the subculture that has become a lifeline. The Vespa does make a cameo appearance but I’d like to have seen more of the essential motor Mod motor vehicle. More of The Who’s rock would also add some grit behind the fingernails to the orchestral arrangements. That said, this is a mesmerizing production and what it does well is Jimmy’s brittle nature, especially as mental health issues are more at the forefront of our culture, not hidden as were in 1964. Fitzpatrick is a triumph in the role, the film’s nihilistic and hopeless end is traded for something more redemptive in this spirited performance.