During dinner with Ernesta and Andra in Paris, I asked them for suggestions to help me watch that evening’s performance of Pina Bausch’s Sweet Mambo. Years ago, I had seen the Pina Bausch company at Brooklyn Academy of Music, and while I had found the piece interesting and some of the movement exciting to watch, overall I was puzzled by it. I welcomed some guidance on how to view the night’s performance.
They suggested I view it as a series of vignettes where the performer is sharing a moment of importance to him/her/them. The piece premiered in 2008, and six of the original cast members would be among the nine current performers. It was also pointed out to me that the six original cast members had been working with Pina for a number of years. Some quick math and I realized I would be seeing mature performers, some possibly in their 50’s or 60’s. They also had helped in the creation of the piece by improvising, with Pina drawing the choreography from their improvisations.
Having some of this background information was very helpful. When Ernesta picked up our tickets for the evening, we were all very pleased to be third row center. As I sank into the chair, I felt an excitement that I had often had in New York City when going to a dance event or Broadway show. With great seats (I wouldn’t have to shift around to see), and knowing that I would be seeing accomplished performers, I was ready!
The piece opened with an elegant performer, Naomi Brito, holding a Tibetan singing bowl and gently circling the rim with a mallet, making a rich singing song that called us to attention. As someone who likes to meditate and responds well to such sounds, it immediately brought my full concentration to the stage and the moment. When Naomi began to move, I was in awe of her beautiful lines and the way she filled the stage with grace and strength at the same time. Watching the power of her movement sent chills down my body! While Naomi was not a member of the original cast, Andra shared that she very much captured the quality of the dancer who had created the part.
As the piece progressed, I was impressed with how technically strong the six original cast members were. Their years of seasoned performing captured the audience and immediately brought us into the vignette they were dancing. Sometimes the women spoke and sang, and while it was in French and I do not have any experience speaking French, it didn’t matter as their intent and focus were so strong I stayed intrigued with the action.
The first half introduced the characters; the mood was light, teasing and playful between the men and women, with the women clearly having the upper hand. Toward the end of the first half the feeling changed. One of the original cast members, Julie Shanahan, threw herself over and over to be caught by two men, while lightning was projected onto the white fabric background! It was intense and powerful and a good example of the strength of the diagonal line. It was followed by another dancer, Julie Anne Stanzak, being led by different men in a repeated circle.
Following the intermission, the second half showed a darker side of each of the women characters, and in this section each of the men had a solo. For me the piece was a powerful statement of relationships, with the women ultimately being in charge – truly a feminist piece.
The set and lighting were elegant and simple. Fabric was used in different ways. Film and images were often projected on back panels, which were also used for entrances and exits. At one point, a cloud-like, billowing fabric served as a backdrop and then also provided a poignant moment for Naomi to dance inside it, creating an eerie solo. At another time, panels were flown in at different places on the stage and used in different ways. Among the most striking such use was when the three men were behind the panels, and the three women sat on them like couches and were rocked.
As I walked back to my hotel room, I felt very grateful to have had the opportunity to see a powerful concert performed by a very gifted company. Thank you Ernesta for making it possible, and Andra for your insight, and bravo to Tanztheater Wuppertal Pina Bausch.
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