As the term 'experimental' dance suggests, Rachel Johnson's latest production Bridging The Void is never going to appeal to every taste. Regrettably, in my case, it failed to win me over. However, it is an eye-opening experience which transports you, literally, into the middle of a completely unique branch of theatre.

Bridging The Void choreographer Rachel Johnson founded the company Experimental Dance, of which she is artistic director in 2014. Her productions have found success across the country performing at the National Gallery, Brighton Festival and Regent Street Summer Festival.

Inspired by a trip to Arizona, in which Rachel chanced upon a mesmerising sunset, the idea for Bridging The Void was born. Rachel rejects the conventional tropes of theatre that create a barrier between the audience and the spectacle. Instead, her audience become a part of the production, encouraged to move around the spacious studio and interact with the three performers. On the night I attended, the audience remained rather timid when it came to taking part, but frequently moved about the room to best take in the action unfolding before them.

The production begins in darkness, with fellow audience members silhouetted against the backdrop of the limited lighting. James Welland's original score gradually builds up enclosing everyone into the exclusive world of the production. It takes a while to distinguish the performers from the audience (each dancer is dressed in regular clothing) allowing you to become fully immersed in the drama.

As the production unravels, the performers mimic the rising of the sun almost as though they are being reborn. Once they've lifted themselves off the floor to run amongst the audience, a breathtaking image of the sun rising over London is projected onto the white walls of the studio.

Similarly transfixed, the performers stare idly at the screen before moving onto their next act. The ensuing video, that sees the performers dancing on screen, is a wonderful expression of talented filmmaking. The stunning cinematography, set against the striking light from the rising sun replicates the awe-inspiring feeling of watching such a spectacle. Once the production reaches its finale, the lights gradually rise until the room is brightly lit and we return again to daylight.

While Bridging The Void may not be able to sway all cynics, it is a remarkable and truly original production.

By Amy Horsfield