Precious nonsense: Pina Bausch’s Nelken, at Sadler’s Wells, reviewed

Fifteen years after her death and the shrine to Pina Bausch is still thick with incense and adulation. Whether one acknowledges her as a genius or not, there’s no doubt that her influence has been baneful – a cult that has spawned a thousand imitators, all following her absurdist idiom, all mesmerised by subversions of everyday logic, all ultimately trapped in a vacuous dead-end aesthetic in which anything goes, the weirder the better.