Pina Bausch's Kontakthof Reunites Original Cast in Poignant Time Capsule
Mirrored by the spectres of their younger selves, the original dancers of Pina Bausch's seminal 1978 work Kontakthof have returned to the stage at Sadler's Wells in London. This latest iteration, titled Kontakthof - Echoes of '78 and devised by Meryl Tankard, brings together eight members of the inaugural cast, now in their 70s and 80s, to perform live alongside black-and-white footage from their 1978 performance.
A Dance That Keeps on Giving
Created by the late German dance-theatre doyenne Pina Bausch, Kontakthof is set in a dance hall to songs of the 1930s. The piece serves as an oddly affecting parody of courting rituals and the friction between the sexes, exploring themes such as petty cruelties, intimidation, and questions of consent. Like a nature documentary, it offers a detached observation of our species' strange behaviour.
Over the years, Kontakthof has been performed in multiple iterations, including a memorable 2010 London production with two casts: one a group of teenagers and the other a company of nonprofessionals over 65. However, this new version is particularly special, as it reunites the original dancers to perform their old roles, creating a powerful palimpsest of time and ageing.
Time Folded In on Itself
On stage, the dancers introduce themselves with poignant honesty. "My name is Arthur, Arthur Rosenfeld. I'm nearly 74," says one self-proclaimed "sprightly old geezer." Meryl Tankard, aged 70, stands beside him, while others like Josephine (76), Ed (80), and John (79) share their stories. The backdrop features film from the 1978 performance, allowing the dancers to be mirrored by the spectres of their younger selves.
This layering evokes a profound sense of time and loss. On screen, we see members of the cast who are no longer living, their absence tangible in the gaps left on stage. In one heartbreaking moment, John Giffin stands alone, lifting his hands to cup the face of his partner on film, only to touch air. It's a terribly poignant reminder of the passage of time.
Vitality and Continuity
Despite the themes of ageing and loss, the production also celebrates the vitality of these performers. The still-beautiful women wear pale silk dresses carefully fitted to their bodies, parading in high heels with proud backs and knowing smiles. Josephine Ann Endicott, impish and apple-cheeked, coos at the sweetness of her younger self, declaring, "She still can dance and no one can stop her."
Her graceful and gusty sweep across the stage resonates deeply, particularly with middle-aged audience members who might think, "That's what I want to be when I grow up." The sense of continuity is further emphasised by Bausch's use of walking patterns, with dancers slicing across the stage or endlessly circling at an andante tempo. It suggests that our strange species keeps treading the same paths, with the music playing until the last person stops dancing.
A Moving Look at the Passing of Time
Loaded with shifting meanings, Kontakthof - Echoes of '78 contrasts the loneliness of a young woman at a dance with that of an older woman, among other themes. The cast's introductions before the interval add layers of personal reflection, from Beatrice Libonati's gnomic "I am paranoid and a misanthrope" to Tankard's heartfelt admission: "I do wish I'd had children. I miss my mother every day."
With the film in black and white and the vintage music, it could easily be their parents or even grandparents dancing, reinforcing a sense of cycles and continuity. At Sadler's Wells until 11 April, this production is a moving exploration of time, memory, and the enduring power of dance.
