Everyone liked Rite of Spring, but Cafe Muller was another story.
By far the most enthusiastic of the critics was Judith Mackrell who unlike many of her colleagues both understood and appreciated the raw emotions of Café Muller.
http://arts.guardian.co.uk/theatre/danc ... 06,00.html
Jenny Gilbert of The Independent rightly deplores the fact that Pina Bausch’s engagements in London are few and far between:
http://www.independent.co.uk/arts-enter ... 83233.html
And Luke Jennings of The Observer agrees
http://arts.guardian.co.uk/theatre/danc ... 01,00.html
Inexplicably, Debra Craine of The Times considers Bausch’s Café Muller is at “is at the upper limits of its endurability”.
http://entertainment.timesonline.co.uk/ ... 370034.ece
Zoe Anderson has little to say about Café Muller, but really likes Rite of Spring.
http://www.independent.co.uk/arts-enter ... 82427.html
And finally Clement Crisp, who takes it upon himself to criticize us the audience, as well as commenting on what he saw on stage
I own to a mistrust of Tanztheater , or dance-theatre, or Euro-tedium - call it what you will. There are all the merry appurtenances of pretension: the secret physical language, the chatter, the angst and the cheery assumption that we need to understand about these private anxieties, these ill-behaved and self-obsessed dead-beats. But there is a public that eats it up with a spoon, and their guru is Pina Bausch.
Here is the rest of his review:
http://www.ft.com/cms/s/0/7b494da4-db67 ... fd2ac.html