Appropriately after Valentine’s Day we are sitting above a stage carpeted with 8000 carnations to see NELKEN by Tanztheater Wuppertal Pina Bausch + Terrain Boris Charmatz performing on a stage at the Sadler’s Wells Theatre. This seminal piece debuted in 1982 and hasn’t been seen here since 2005. It returns now with a new generation of dancers and under its new artistic director of 18 months, Boris Charmatz.  

Pina Bausch was the artistic director of Tanztheater Wuppertal for over three decades and continues to be greatly revered by contemporary dance aficionados who will undoubtedly rejoice at the opportunity to see one of Bausch’s most searing works. Though Bausch suddenly passed away in 2009 her influence is still felt strongly in the world of contemporary dance and she will always be inextricably linked to Tanztheater Wuperthal. Bausch revolutionised modern dance throughout the world using a two-pronged approach where the choreographer allows the soul of the dancer to enter the process by asking them questions and encouraging improvisation during the choreography. She is famously quoted as saying she was “not interested in how people move but in what moves them.”  She also contradicted traditional ideas of what a dancer should be by welcoming dancers of all backgrounds regardless of age, ethnicity, and nationality.

Before the performance unfolds, one begins to marvel at the striking beauty of the carnation filled stage for which we have Peter Pabst to thank, the company’s designer over three decades. Questions arise as to how these blooms remain upright and how the dancers will navigate the floral expanse.

Nelken draws on Bausch’s childhood as a German child of World War II. Expressing the basic pain of being bullied, intimidated, and oppressed through a mixture of dance, spoken monologues and ritualised games.

Cruelty takes many forms in this performance: a woman being force-fed food, a distressed child reprimanded by their parent, men happily bunny hopping through the carnations only to be surrounded by security and four guard dogs (real ones). Dancers are repeatedly and threateningly asked for their passports (which seems pretty topical these days with where immigration laws are headed). There are many random, bizarre scenes—like a woman peeling potatoes, stuntmen leaping onto cardboard boxes, or a couple pouring soil on their heads while onions are chopped in the background. Despite this sounding like a big bowl of odd misery, you will find yourself fondly smiling at moments of comedy, romantic gestures, bursts of energy, and playground squabbling. There is also an element of audience participation, which I will leave as a surprise for those yet to see the show.

As this is “dance theatre”, there is not the abundance of dance movement some audiences might expect or desire. Except for one section performed as a sort of “demonstration” of classical ballet moves. One can almost hear him thinking aloud “Are you happy now?”. There is also striking linear chorus line style choreography using tables and chairs.

Towards the end, the now viral “Nelken Line” is performed as a slow march describing the four seasons with simple, repetitive movements winding across the stage to Louis Armstrong’s West End Blues echoing life’s perpetual cycle, leaving the audience with the assurance that – despite everything- they will survive.

In the very last scene the dancers, one by one, with arms balletically poised in stagnant fifth position, come to the stage and answer the question as to how they came to be dancers. The answers are short, interesting and often funny and you leave the theatre knowing a little more of each dancer. 

Nelken is a collage of moments and scenes with a lack of discernible structure which might challenge those not familiar with Bausch’s work. As stated in the program “What’s Nelken about? You decide. Bausch was never dogmatic. Her dance world presents us with a great big canvas, a kaleidoscope of contradictions and conflicting emotions that each person watching will probably respond to differently.” For many, the journey will prove to be a rewarding and unpredictable experience filled with fear, love and humour.

Date: 14 - 22 February 2024. Location: Sadler's Wells Theatre, Rosebery Ave, London EC1R 4TN.Price: £15 – £85. Book now.

Words by Natascha Milsom