Vollmond translates to "Full Moon" or “High Tide”, a time that can draw out hidden sides of ourselves, heightening emotions and unpredictability. Created in 2006, this work from Tanztheater Wuppertal Pina Bausch + Terrain Boris Charmatz captures the pleasure, ecstasy, and extremes of love, of being in the moment. On Valentine's evening in London, this felt like the perfect place to be. It is not always sexy; it is awkward, lonely, and even violent, making you want to explode out of yourself. Literal risk is embodied in acts of falling, games, and confrontations, representing the unpredictability of love while also holding space for something more melancholic and sorrowful, reflecting the inevitability of sadness amidst the chaos of courtship.

The set famously consists of a giant boulder, which the dancers climb over at times, as literal rain pours down upon them. Buckets of water thrown to the side of the rock create a firework-like illusion, an explosive visual heightened by the stage lighting. The rest of the stage remains black, as if the action unfolds within a hidden grotto or cave. This imagery, unembellished yet striking, stems from Bausch's distinctive vision. Designed by Peter Pabst, the set feels both natural and otherworldly. Costume designer Marion Cito clothes the dancers in the iconic long dresses typical of Pina Bausch’s works, with hair down, contrasting against the raw physicality of their movements and the power dynamic between the male and female identifying performers is in constant flux. This juxtaposition unbinds notions of femininity and masculinity in dance.

Dance theatre in its most daring form has the ability to combine production elements in a way that they do more than just support each other. Vollmond masterfully integrates into the movements live sound from props, moments of absurdist-style text, and an evocative soundtrack, including tracks from Tom Waits, Amon Tobin, Alexander Balanescu, Cat Power, and more, exuding a late-night feel in this strange setting. Everything maters, says something. There are no hollow moments in a work like this.

The rawness of the piece taps into something darker yet playful within us. It demands vulnerability from its dancers, asking them to be sensual, ridiculous, and exposed. Bausch's work transcends mere movement, continually proving its relevance by stripping away ego so often prevalent in contemporary dance to reveal something profoundly human.

Each dancer is given space to interpret their movements, uncovering their personality within the choreography. Maria Giovanna Delle Donne is utterly enthralling and impossible to look away from. Tsai-Wei Tien balances humour and playfulness with something deeper beneath the surface. Every performer, however, is fantastic, contributing to an unforgettable experience.

We can’t help but wonder if the current planetary alignment we have been lucky to have upon us right now is influencing the tides and our emotions of late, setting the scene for this mammoth and entrancing work from Tanztheater Wuppertal Pina Bausch + Terrain Boris Charmatz.

***** Five stars

Reviewed by: Stephanie Osztreicher

Vollmond plays at London’s Sadler’s Wells until 23 February, with further info here.