Review: Nelken, Sadler’s Wells Theatre

Nelken (Carnations), a masterpiece crafted by the extraordinary and legendary German choreographer Pina Bausch in 1982, unfolds as a profound exploration of love and the intricate dynamics inherent in our pursuit of happiness.

The stage is transformed by an invasion of 8,000 fabric carnations, envisioned by the talented Peter Pabst, radiating gorgeous pinkish tones that shimmer beneath the warm glow of stage lights. This visual spectacle harmonises with the deliberate arrangement of dancers, who strategically place chairs throughout the space. Ethereal ballerinas and elegantly attired men compose a tableau of stillness, tranquility, and beauty. Marion Cito’s costume design, exquisite and effortlessly glamorous, serves as a striking contrast to the piece’s occasional brutality.

Music emerges as a character in itself, with standout moments like the poignant rendition of George Gershwin’s “The Man I Love” in sign language setting the tone and warming hearts. The strategic use of silence creates a sense of anticipation in the audience.

In this immersive experience, the audience is not a passive observer but an integral part of the performance. Dancers confidently traverse beyond the stage, engaging audience members in a playful interaction that alternates between passive observation and active participation in the unfolding universe.

Throughout the extended introduction that sets the scene, a palpable sense of unpredictability and controlled chaos permeates Bausch’s world. The piece unfolds as a succession of beautifully crafted images, ranging from intimate moments like listening to heartbeats and finding inner peace, to scenes of lovers connecting while pouring soil over their heads. Authority figures with Alsatian dogs on stage oversee the proceedings, intersecting with childlike games amidst the cruelty of the world.

Bausch creates an absurd, clown-like, gender-fluid world where storytelling unfolds through bodies, repetition, and subtle variations. The transition from structure to chaos is striking, as the initial beauty of the performance gradually succumbs to growing violence, mirroring the destruction of the once radiant carnations that adorned the stage.

Highlight moments include the captivating Four Seasons dance, mind-bending stunts, and a heartwarming collective hug involving the audience. On a more personal note, something I wished to get more of was dance, there were a lot of interesting choreographed movements and great images, but not a lot of dancing numbers. Also, at times throughout the chaos, where I was seated it was a bit difficult to understand some of the things the dancers were saying, but could think of this as an aesthetic choice.

A Pina Bausch piece is not meant to be dissected intellectually but felt emotional. Approach this performance with an openness to experience rather than an attempt to analyze, for it is a unique and transformative journey into a realm that defies conventional understanding.

Direction and Choreography by: Pina Bausch
Set Design by: Peter Pabst
Costumes by: Marion cito
Artistic Director: Boris Charmatz
Rehearsal Directors: Silvia Farias Heredia, Eddie Martinez

Nelken plays at Sadler’s Wells Theatre until 22 February. Further information and bookings can be found here.