Review: THE RITE OF SPRING / COMMON GROUND[S], Sadler’s Wells
Photo credit: Maarten Vanden Abeele/Pina Bausch Foundation
What kind of work leaves a legacy so powerful that it resonates long after its creator is gone? The Rite of Spring certainly belongs in that rarefied category. Now, this iconic work is being presented in a double bill alongside the new piece common ground[s] at Sadler’s Wells this November, following sold-out performances and international acclaim. This programme, a partnership between the Pina Bausch Foundation, Senegal’s École des Sables, and Sadler’s Wells, goes beyond simply restaging a classic—it feels like a celebration of cultural exchange and heritage expressed through dance.
The evening opens with common ground[s], a tribute to the lives of two pioneering women in dance: Germaine Acogny, known as the “mother of contemporary African dance,” and Malou Airaudo, a formative figure in Tanztheater Wuppertal. Together, they reflect on their shared histories in a performance imbued with palpable depth and tenderness. Their movements evoke the interplay of memory, ageing, and friendship, embodying an archetypal maternal energy. Placed before the more high-profile The Rite of Spring, common ground[s] acts as a summoning—a ritual that prepares us for the profound physicality of Bausch’s masterpiece. Originally praised at Sadler’s Elixir Festival, common ground[s] challenges assumptions about age and dance, showcasing the calm power and memory held in the bodies of these veteran dancers. Watching them embody a lifetime of movement and experience is a privilege; their gestures seem to hold the very spirit of Bausch and their individual relationship with her.
Following an extended interval, during which the Sadler’s Wells stage is transformed into a sandy expanse right before the eyes of those who remain in the auditorium, we are transported into The Rite of Spring. Bausch’s legendary 1975 choreography, accompanied by Stravinsky’s searing score, is brought to life by an ensemble of dancers from 13 African countries who take the originally European work and respectfully instil it with a new and vibrant soul. The dance portrays a ritualistic sacrifice, with a clear distinction between the men and women. They are to choose one among them to bring forth spring in a visceral transformation from winter’s austerity. This current ensemble infuses the piece with an energy that amplifies the physical and emotional intensity of Bausch’s vision, imbuing it with a unique cultural resonance. Their grounded, unyielding movements channel earthbound energy, creating a relentless, raw portrayal of life’s cycle.
Adding to the immersive experience, the Pina Bausch Foundation premieres BREATH, a sound installation at the Lilian Baylis Studio, inviting audiences to engage with the production on a multi-sensory level. Meanwhile, Dancing at Dusk – A Moment with Pina Bausch’s The Rite of Spring returns to Sadler’s Wells Digital Stage, free for online viewing. This documentary, filmed on a Senegalese beach at the start of the COVID-19 pandemic, captures a final rehearsal of the ensemble, echoing the raw, elemental quality of Bausch’s choreography in a powerful natural setting.
As Salomon Bausch, Founder of the Pina Bausch Foundation, remarked, “This production offers a glimpse into the future… an ensemble with personalities from diverse dance backgrounds.” For London audiences, this double bill is a unique opportunity to experience not only the enduring legacy of Pina Bausch but also the profound connections that dance creates across generations and cultures.
***** Five stars
Reviewed by: Stephanie Osztreicher
