AUTOBIOGRAPHY (V95 & V96) at Sadler’s Wells Theatre

★★★

“Autobiography’s saviours are its dancers who are technically talented with unmitigated enthusiasm.”

Self, Life, Writing. The essence of the word Autobiography and a reflection of how Wayne McGregor sees the world, breaking it down to its core components. Autobiography was first performed in 2017 to celebrate the 25th anniversary of Company Wayne McGregor. Conceived in collaboration with the dancers of the company, and inspired by the experiences, influences and ephemera of McGregor’s life, the structure of the piece is then left up to the power of ‘the algorithm’, of which more later. Now some five years or so since it was first performed, in the company’s 30th year, it’s back on stage at Sadler’s Wells, albeit in a slightly different formation.

Chapters of self contained meaning are numbered but performed out of sequence. Only chapters 1 and 23 are positioned at the same point in each performance – at the opening and closing. The significance of 23 is in its relation to the number of pairs of chromosomes in DNA, one of the most basic units of human existence. Serendipitously, 23 is also the age Wayne was when he started the company, adding a further autobiographical significance to the piece. The order in which each audience will experience the chapters is determined by an “algorithm based on McGregor’s genetic code”, dramaturg Uzma Hameed tells us in the programme. This algorithm may also select which dancers take on which roles. The ambitions are lofty and likely technically complex – but altogether opaque and probably unnecessary. A random number generator to choose the sequence would likely do the same job as an algorithm based on the sequencing of McGregor’s DNA.

And in terms of the substance of the performance – it wasn’t easy to like. In fact part way through I wondered whether the choice not to have an interval was to stop people leaving the auditorium never to return.

Now don’t get me wrong – I am always down for a bit of techno music and don’t believe dance should always be aesthetically harmonious. But some of the pieces were really challenging to endure. This was largely due to the, at times deafening, soundtrack by Jlin. Her roots in America’s rust belt are abundantly clear from the pulsating bass and breakbeats, reflecting McGregor’s choreographic style. When more melodic, there are real moments of beauty. But at the point high-pitched screams overlaid the bassline the soundtrack really wore thin.

It wasn’t always saved by the choreography. All solos, duets and trios were interesting and pleasant to watch, notwithstanding the oppressive soundtrack. But some of the pieces featuring the full company lacked cohesion. One piece in particular early on in v95 (likely to appear at a different point in other versions) lacked any unifying motif whatsoever. It appeared like an audition room with each dancer attempting to show their best moves and catch the attention of the casting director. Maybe this was the intention, given the autobiographical nature of the piece, but it felt too simplistic an interpretation for McGregor.

Autobiography’s saviours are its dancers who are technically talented with unmitigated enthusiasm. Only two of the original cast are still part of the company and they are easy to spot. The maturity is evident in Rebecca Bassett-Graham, not just from her fiercely cropped shock of white blonde hair but also from the strength and power portrayed in her movement. There’s also Jordan James Bridge, whose distinctive style stands out in a solo moment. The majority of the company are fresh talent – with just over half having joined in 2023 and all delivering stand out moments. Jasiah Marshall has a particular presence – opening the performance dominating the starkly designed and lit stage (Ben Cullen Williams and Lucy Carter) with broken lines and a chest so puffed it too looked like it might snap.

Autobiography might not be the most enjoyable watch. But as a capsule of the core elements of Wayne McGregor’s practice: a fascination with science and technology; a collaborative approach with his dancers; and a disciplined minimalism to choreography, costume and set, it’s an ambitious yet not self indulgent project.

AUTOBIOGRAPHY (V95 & V96) at Sadler’s Wells Theatre

Reviewed on 12th March 2024

by Amber Woodward

Photography by Andrej Uspenski

Previously reviewed at this venue:

NELKEN | ★★★★★ | February 2024

LOVETRAIN2020 | ★★★★ | November 2023

ALVIN AILEY AMERICAN DANCE THEATER AT 65 | ★★★★★ | September 2023

DANCE ME | ★★★★★ | February 2023

BREAKIN’ CONVENTION 2021 | ★★★★★ | July 2021

WILD CARD | ★★★★ | June 2021

OVERFLOW | ★★★★★ | May 2021

REUNION | ★★★★★ | May 2021

AUTOBIOGRAPHY

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★★★★★

“This revival of Nelken honours its roots, while embracing the experiences of a new generation of dancers”

Pina Bausch’s Nelken, created in 1982 for her company Tanztheater Wuppertal, was first performed at Sadler’s Wells in 2005. Nelken now returns for a triumphant revival under the direction of Boris Charmatz. From the extraordinary dance floor, covered with thousands of pink carnations—Nelken is the German word for carnations—to an eclectic yet entirely appropriate choice of modern and classical music to accompany the dancers, Pina Bausch’s iconic company captures the essence, once again, of what we have come to understand as “Tanztheater.”

What is “Tanztheater?” It’s an intriguing question. It’s described in the programme as “a form that blends dance and everyday movement” but what that description doesn’t cover is the complex layers of irony enfolded in every clash between dance and “everyday” movement. Tanztheater is part of Bausch’s response to the complicated times in which she grew up, to Germany’s own complicated history, and the self referential irony that is associated with that. Unsurprisingly, Bausch’s work is also drama—and a beautiful yet violent story is unfolding in Nelken. Over nearly two hours, everyone is engulfed in this tale of colliding encounters, including the audience.

Don’t come to Nelken expecting a conventional play, or even, for that matter, classical dance. Nelken is something else entirely. It begins with stunning images and peaceful moments as the dancers enter in beautifully designed dresses, regardless of gender, hopping about the carnations like a child’s idea of rabbits. It ends with utter exhaustion and anger. Yes, anger at the audience for making them go through all this. For every beautiful movement, or childlike moment of innocence, Nelken wrenches itself apart with violence. Men in dark suits with barking Alsatians enter this beautiful space, as well as sinister officials demanding passports. Women scream protests as dancers assault one another. Others enact, over and over again, dramatic falls off a table that advances across the stage like a battalion on a battlefield. It is exhausting to watch. Exhausting, but exhilarating. Where else could you see beautiful dancers perform moves with an ironic glance aimed straight at the audience? Or endlessly form and reform a “Nelken” line as they acknowledge not just the moves of classical dance, but turn those into sign language? This is the genius of Pina Bausch—to show us the power of movement growing from childlike beginnings among the beautiful carnations, and flowering into something adult—and dark. Nelken may be about love, but it is also about the things that turn love ugly.

Every dancer in the Tanztheater Wuppertal brings something uniquely themselves into Nelken. It is fascinating to watch individuals reveal themselves even as they perform as part of a company. Under Boris Charmatz’ direction, who now leads Tanztheater Wuppertal (Bausch died in 2009), the dancers continue to ask themselves questions that prompt such individual responses. This revival of Nelken honours its roots, while embracing the experiences of a new generation of dancers.

Sadler’s Wells has produced the work of the Tanztheater Wuppertal often, and have built a loyal following over the years. Last night’s performance of Nelken was sold out, unsurprisingly. Don’t let that put you off trying to get a ticket for their next visit, though. If you succeed, you’ll be delighted by the work of this extraordinary company.

Tag Archives: Sadler’s Wells Theatre

AUTOBIOGRAPHY (v95 & v96)

★★★

Sadler’s Wells Theatre

AUTOBIOGRAPHY (V95 & V96) at Sadler’s Wells Theatre

★★★

“Autobiography’s saviours are its dancers who are technically talented with unmitigated enthusiasm.”

AUTOBIOGRAPHY (V95 & V96) at Sadler’s Wells Theatre

Reviewed on 12th March 2024

by Amber Woodward

Photography by Andrej Uspenski