Like Bausch’s original dancers, some of the new generation from Tanztheater Wuppertal are cast for sass: especially scampering Dean Biosca, swooping Naomi Brito or Maria Giovanna Delle Donne, who interrupts her languorous solo to rant about how easily milk can boil over.
They’re inventive (especially one for tiny dynamo Ditta Miranda Jasjfi, the only member of the original cast) but can feel inconsequential – the heart of these works is how we relate to others, even if that leaves us achingly lonely.
Pina Bausch’s 2006 work isn’t romantic, exactly, but its restless people hurl themselves at the hope of love, against a spectacular, elemental set design of rock and rain.
They cross the floor in a froggy breaststroke; Jasjfi’s dripping hair thrashes in a diamond arc; men dash buckets of water against the rock.
The music ranges from spiky strings to growling Tom Waits, but what catches your breath is the way Vollmond unleashes its water.
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