We begin the night gathered in the entranceway of the Town Hall, hearing the call of light and sound escaping from the inner doors. There is a sense of anticipation and curiosity about what is around the corner as we line up around the foyer. The printed programme invites us to take photos and videos as desired throughout the performance.

We are beckoned through the doors by performers to see a scaffolding structure that commands and obstructs view of the space no matter where you are. One side offers large platforms/steps that climb up to a white elevated dance floor. Beside, in front, on stage, above, inside- everywhere is a space of performance. The spaces are carved by the scaffolding itself, creating nooks and obstacles for travel and sightlines. Behind the structure, the musicians are set up on the stage, with further steps onstage providing yet more seating and performance options. The structure becomes the dominant choreographic feature of the evening as it invites migration of the performers, and us as audience members. No space in the room goes unexplored by body or eye.

The performers rove throughout the room between choreography and improvisation, solo and in partnerships, unlocking and revealing new features of the structure for us to explore. The smallness and closeness of certain spaces make room for intimate moments of connections with performers. The improvisational and nomadic nature of the work makes each eye contact a sacred and unrepeatable moment, even beyond the transience dance already boasts as a form. Each performer dances with humanity, and brings a unique movement aesthetic to the work.

Eden Mulholland’s music, performed live, (with entrancing vocal contribution from performer Hannah Lynch ) injects life into the Town Hall, proving him again to be a versatile collaborator and skilful artist. Mulholland understands the dynamics of live dance performance, and the band works responsively to the event.

Adding yet another layer of sensory shrouding to the space, Rowan Pierce’s AV design envelops the town hall in otherworldliness and brings the experience into 3D. There are several moments where the performers complement the AV design as the dominant visual feature as light is harnessed in creative ways. These moments vary between humorous and enchanting, and I find myself staring at the ceiling to figure out how these are achieved.

As audience it’s easy to feel overwhelmed in the face of choice and abundant sensory provocation. I feel one of the strengths of this experience is the complementary blend of performance, choreography, set design, live music, lighting, and projection to activate a welcoming, unpressured space. The performers are gentle and inviting in ushering us through moments of transition and uncertainty. Despite the nomadic experience, which can often be unsettling, I feel we are held carefully and with consideration throughout the event. The result is engagement enabled to be playful and curious, rather than hesitant. I see plenty of audience around me taking advantage of this, and the withdrawn preferences of other audience members is respected.

MOVEMENT OF THE HUMAN is a worthy sequel to RUSHES and is a genuine, intimate, and fun immersive performance experience. Johnston and her creative team have engineered an unexpected, uplifting, and engaging way to navigate the Town Hall. For me, the success of MOVEMENT OF THE HUMAN is encapsulated by a friend who came with me- a first time contemporary dance-goer. “That was so different. I totally enjoyed it and I want to see more”.

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