Cafe Muller/The Rite of Spring

Published Friday 15 February 2008 at 12:50 by John Percival

Two of Pina Bausch’s early works, neither of them seen before in London, provide the double bill for this visit by her Wuppertal Dance Theatre. Cafe Muller (created 1978) is an evocation, to Purcell songs, of memories in a now empty cafe. It is one work that Bausch herself usually dances but, unwell, she was replaced by Helena Pikon, who looks amazingly similar but is less dominating. That’s actually a benefit, since we can concentrate more on the other five dancers, notably Dominique Mercy - in a role he created - trying to recapture his early lover and Nazareth Panadero, disguised by a red wig, scurrying through the room in her loneliness.

Bausch’s Rite of Spring (from 1975) ranks - with Massine’s and Bejart’s versions - as one of the most vivid and moving treatments of Stravinsky’s tremendous score. Sixteen women and as many men scrabble through violently energetic ensembles before small, dark-haired Ruth Amarante is chosen as the terrified victim who must sacrifice herself in the frightening conclusion. Made to change from the standard flesh-coloured, almost transparent frocks into a red one, she develops the alarm she showed earlier into full terror. Dramatically, choreographically and in intensity, this Rite leaves the Royal Ballet’s production, playing simultaneously, way behind. No wonder that Sadler’s Wells - as usual with Bausch’s visits - has the House Full sign displayed.

The late Rolf Borzik’s revolutionary designs (chairs to be thrown around, tables and doors in Cafe, a floor of earth for Rite) contribute powerfully. It’s only a pity that the splendidly inspiring music has to be played from recordings.