Humanhood: Infinite

Sadler’s Wells East, London
February 12, 2025

Premiered at the now-no-more Birmingham International Dance Festival in 2022, ∞ {Infinite} remains Humanhood choreographer-directors Julia Robert and Rudi Cole’s largest work. Performed impressively by its superb cast, it’s a work that draws you in; a work where you can just sit and admire its power and beauty, or let you mind wander into thoughts about the cosmos and our place in it, that in part lies behind it.

Humanhood is about dance performances and embodied experiences that fuse ancient mysticism and modern science within the human body. A deep sense of spirituality certainly pervades Infinite, which opens with a line dancers, standing downstage, backs to the audience, in half-light. As though they have all the time in the world, deeply focused on their inner self, they slowly turn to sit cross-legged, before facing the audience. When they come to life, it’s in choreography of swooping torsos and continually folding, unfolding and reaching arms.

As it develops, the work is divided into sections by periodic crashes in Iain Armstrong’s primordial electronic score that bring momentary blackouts, the only pauses in movement that is otherwise almost continuous. That music is occasionally interrupted with spoken word, a calming voice that guides and encourages us to feel our inner rhythm and to tap into to our own inner selves.

The infinity symbol is cleverly woven throughout the choreography. It is drawn by arms as the move through the air in different planes, by heads as they circle, and in floor patterns as the dancers swirl around each other like cosmic dust. The movement is soft and fluid, but with an inner strength and resolve.

Infinite is very much an ensemble work. Even so, one of the women in particular stood out for her speed and clarity of turns, often at speed with the supporting leg in demi-plié.. I would love to tell you who she was, but all attempts to find a name have drawn blanks. There was not even a single-sheet on the evening, let alone a programme, even as a pdf.

Elsewhere, one of the men dramatically swings a bullroarer, an Australian aboriginal instrument used to call the wind.

After that, the work takes on a sharper edge. Falls, rolls and turns become faster as power within becomes power without. In part at least. As the dancers move in a circular pattern, matters take on a ritualistic feel.

Hand held lights become shooting stars in the darkness before the work’s one truly joyous section, a beautifully free dance of bounces and small jumps that’s so extended you wonder where the performers find the endurance.

Tom Visser’s atmospheric lighting is shadowy, and there’s a fair bit of mist, but it didn’t feel as dimly lit as at that premiere than three years ago. Maybe that’s fading memory, maybe a function of being closer to the action, however. Whatever, it did feel less mysterious than previously.

When we reach the climax, ‘Arrival’ as the voice tells us, each member of the cast is bathed in their own spotlight. Journey over. Infinite over. Except that it does live on in the memory.

Somewhat appropriately, ∞ {Infinite} is a work that takes its time. Sometimes meditative, sometimes repetitive, it’s a work where inner and outer worlds meet. It’s certainly different. Its mystical, slightly East Asian aesthetic may not appeal to all, but it is quite an experience. And the dancers are truly terrific.

And the new Sadler’s Wells East?

All in all, quite good. New theatres can take time to bed in. They can often be ‘cold’ and lack welcoming warmth. Not Sadler’s Wells East. The exposed brickwork and wooded flooring helps a lot. I’m not a big fan of the exposed concrete though, which is going to be a nightmare to colour match should any repairs ever be necessary.

Outside, I love the fact that the architecture clearly references the Islington main venue.

Top marks for the bar/café too, but the high spot must be the auditorium. It has to be one of the best for sightlines anywhere. It’s not curved round, not too wide and steeply raked. If a head blocks a view, it is going to belong to someone very tall indeed! Leg room is fine.

The downside to that is that the stairs seem steep. The treads also felt narrow, but then I do have size 10 feet! The only entrances are at the top, so it’s a long walk down or up, to and from the seats at the front, from where I suspect it could take quite a while to exit after a show.

A real negative are the seats, however. Or more accurately, the seat backs. Someone has been taking inspiration from the worst of modern trains. They are very upright and offer very little support. I’m sure there will be people who find them fine, but I would go as far as to say they are among the most uncomfortable I’ve ever sat in (no-one is ever going to beat Taipei Performing Arts Center).

For Humanhood, bag checks were conducted not at the door, but at the entrance to the auditorium, which led to long lines snaking through the public area and it taking an eternity to get to one’s seat. The show started ten minutes late simply because of the time it took to get everyone seated. Having said that, the checks were being done with a smile and a lot of good humour, not always the case at the main Wells venue.

The walk from Stratford International station (confusing enough in itself)… The signposting is not poor, it’s non-existent. Having done it once, I’ll now be OK, but allow time and be prepared to get lost first time around. The Street (do you think they couldn’t come up with a name?) is under cover but the bridge and Endeavour Square is rather exposed. The walk could also be ‘fun’ should a show clash with West Ham playing at home at the very nearby London Stadium.