Reviews

  1. Tanztheater Wuppertal Pina Bausch - Auf dem Gebirge hat man ein Geschrei gehört

    Press Review Lyndsey Winship, Evening Standard, Thursday 16 April 2015Performance 15 - 18 April 2015

    The “mountain” is a stage covered in soil, and from this barren earth life springs — lives distilled to their eccentricities; behaviours stuck on repeat cycles. Bausch’s world is an ever-shifting collage, moving in a blink from comedy to tragedy, violence to poignance. 

  2. Tanztheater Wuppertal Pina Bausch - Auf dem Gebirge hat man ein Geschrei gehört

    Press Review 4Lise Smith, Londonist, Thursday 16 April 2015Performance 15 - 18 April 2015

    At a mere two hours plus interval, Auf dem Gebirge is one of the German choreographer’s more compact works. If you haven’t experienced the very particular theatrical magic of Tanztheater Wuppertal yet (and if you can get a ticket) this is a good place to start. 

  3. Tanztheater Wuppertal Pina Bausch - Auf dem Gebirge hat man ein Geschrei gehört

    Press Review 2Mark Monahan, , Thursday 16 April 2015Performance 15 - 18 April 2015

    In short, an all-too Bauschian mound of ideas, originality, darkness and tenderness – performed with passion and conviction by the late choregrapher’s troupe – that would have been so much more potent for a lot of ruthless trimming. 

  4. Tanztheater Wuppertal Pina Bausch - Auf dem Gebirge hat man ein Geschrei gehört

    Press Review 3Neil Norman, The Stage, Thursday 16 April 2015Performance 15 - 18 April 2015

    A woman walks up a wall horizontally, supported by two men; a man makes a sandwich of his forearm and offers it to the audience. Another man keeps interrupting his rendition of Cry Me a River to remove articles of clothing. There are balloons, screams, cigarettes and a l… 

  5. Tanztheater Wuppertal Pina Basuch - Auf dem Gebirge hat man ein Geschrei gehört - Sadler's Wells

    Press Review 3Judith Mackrell, Guardian, Thursday 16 April 2015Performance 15 - 18 April 2015

    Few would argue with Wuppertal’s commitment to maintaining the astonishing legacy of Pina Bausch. But as the company start to pick though the choreographer’s back catalogue, I wonder if their project of reviving lesser known productions will be one of diminishing returns. 

  6. Diana Vishneva - On the Edge - London Coliseum

    Press Review 3Judith Mackrell, Guardian, Wednesday 15 April 2015Performance 14 - 18 April 2015

    Her brief … was to create works that were deeply personal to her. The result is a 90-minute show that pushes her stamina and powers of conviction to the limit. Both choreographers have Vishneva dancing on the edge of the confessional, but also on the edge of self-indulgence. 

  7. Diana Vishneva - On the Edge - London Coliseum

    Press Review 2Telegrapht, Mark Monahan, Wednesday 15 April 2015Performance 14 - 18 April 2015

    By the time, at the close, she’s laying into a never-ending heap of lemons and dolling them out to the audience, you have the inescapable feeling that Carlson, and indeed Vishneva, really should have known better. 

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