Wupperthal has worshipped Pina Bausch for the past ten years. The original dancers pass on a legacy to the newcomers without the company creating any single piece. And yet season after season crowds continue to flock.

And here comes Viktor. A vault-set to slowly bury the performers alive. This ground so dear to Pina, a perpetual building site. Julie Shanahan always sublime hypnotises as a woman with no arms and a hysterical Cristiana Morganti offers a surprisingly dark exit. Dominique Mercy takes up the part of Viktor again and the new generation is sparklingly led by Breanna O’Mara, unsettling as a widow screaming under the ruins, so bewitching in her crawling dance she eclipses the rest of the cast.

At Viktor’s, weddings are funerals, women are fountains, couples and beggars form a ballet in a happy Roman Bohemia, swirling to unlikely music.

Maybe this is the recipe for success: this sum of strong interpretations, of exaggerated details compiled in living pictures. One goes to a show by Pina Bausch like one goes to an exhibition where anything can happen anytime. No wonder some just don’t get tired of it.

Illustration © Araso


Viktor, 1986, a piece by Pina Bausch

Théâtre de la Ville, location at Théâtre du Châtelet, from September 3rd to 12th 2016