Photo credits: Karl-Heinz Krauskopf
(4 / 5)
The late choreographer Pina Bausch was one of the greats of her generation, past shows at Sadler’s Wells have dazzled with what dance can become in London.
Her Sweet Mambo was her penultimate work, after a life made in dance. This is a cocktail of moments, at times more of a happening as opposed to pure dance. I’ve never heard dancers speak so much: their introductions, recollections, narratives, demands and instances are heard throughout the night. These can be highly meta, or idiosyncratic as there is screaming, mic feedbacks and vocal frys, uttley absurd in the best of spirits. It’s clear that the few male dancers on stage are limited to Lynchian aggressors or lecherous fiends who prey on these leading ladies.
As a dance work, the movement is fluid and elegant, contemporary without to much pressure. Long silk sails are often used on stage for effect, the only other addition of note. The ladies costumes also evoke this breeze with soft, billowy frocks, aside ballroom fashion by Marion Cito. As things went on, it become compelling to watch the dancers evoke old Hollywood, The Red Shoes, Latin dances, story time and performance art. The show embraces its messy relationship with men as both abusers and lovers, even with this one note portraying. There is much joy either way.
Effecting use of the film Der Blaufuchs is the back drop for extended passages, another ode to yesteryear. Eclectic musical choices sees Portishead, Richard Wagner, Ryuichi Sakamoto and the song Cry Me A River feature, all working very well. An international feel to the whole thing with dancers from all over, talk, move and move us dearly. Many moments conventionally depict sexism and rights taking, as others indulge with lust and playfulness. I’d honestly say the second part after the break was not necessarily needed, as it returned to dances seen in the first part and didn’t quite capture the same kinetic energy, nor giddy heights.
Also, the prospect of seeing another Bausch classic: Kontakthof – Echoes of ’78 at Sadler’s Wells in the spring, is very much exciting.