Lilian Baylis Studio, Sadler’s Wells, London
March 26, 2026
Many Lifetimes is described as a poetic dance-installation, and from the outset it leans into that description with quiet confidence. The stage is sparsely arranged, punctuated by softly lit stools, that serve as anchors and transition points for the performers. Overhead hangs a canopy, that gently drips water onto a mirrored floor throughout the work. Subtle lighting also helps to create an atmosphere that feels intimate, immersive, almost ritualistic.
The piece hints at themes of ancestry, at stories of resilience and survival, adding a cultural resonance. Accompanied by a poetic recitation at the beginning and end, the performance creates a safe haven, that invites the audience in. There is nothing static about Many Lifetimes, it unfolds at its own pace, allowing each moment to breathe.
Many Lifetimes, choreographed by dance artist and writer Alexandrina Yewande Hemsley, founder of Yewande 103, often emphasises stillness as much as motion. The dancers use kinetic, fluid movement, which is deeply controlled, deliberate and strikingly graceful. Each coveys a sense of humility, particularly in their solos, where the choreography feels deeply personal and symbolic. There are suggestions of loss and grief, as well as reflection, woven into the movement. It never feels heavy-handed; the themes evolve subtly through gesture and repetition.
Time and again, the dancers seem to arrive at positions rather than simply move through them, giving the feeling each moment is being placed on stage for the audience to accept or reject. The solo dances in particular, use precise lines, controlled turns, and careful positioning to create something grounded and quietly powerful. There’s a real sense of weight to the piece, not just physically, but also emotionally, that holds your attention.
What really elevates the evening, however, is the depth of engagement from the five performers: Bee Solomon, Rudzani Moleya, Greta Mendez, Alice Tatge and Hemsley. Their work goes beyond technical execution, showing a depth of genuine emotional presence. It feels lived-in rather than performed.
The soundscape, which is perfectly fitted to the movement, was created by Bianca Wilson, Femi Oriogun-Williams and Ray Aggs, and is performed live.
A thoughtful and quietly compelling work, which balances technical precision with emotional depth, Many Lifetimes holds the audience in a steady, reflective embrace from beginning to end.