Review: Magnificent I TURNED AWAY AND SHE WAS GONE a Must-See at the Magnet Theatre

The longer that I TURNED AWAY AND SHE WAS GONE lives in my consciousness, the more the brilliant universality of this magnificent piece of physical theatre reveals itself. Written and performed by Jennie Reznek, the play delves into ideas that reside at the very core of our humanity, cutting across divisive experiences of gender, race and creed even as it deals specifically with the experiences of three generations of women, placing their roles as mothers and daughters in the spotlight.

I TURNED AWAY AND SHE WAS GONE transforms the ancient legend of Demeter and Persephone into a contemporary myth about mothers and daughters. The play draws on various versions of the Classical Greek narrative, invoking Kore, one of Persephone's alternate identities, as well as the goddess Hecate, whose role in the legend was first described in The Homeric Hymns. The common thread in all versions of the story is the abduction of Demeter's daughter by Hades, who bursts through a volcanic cleft in the earth while Persephone, or Kore, is picking flowers. Demeter then searches the world for her daughter, while Hecate serves as an attendant-witness to the existence of both parties. Although the possibility exists for mother and daughter to be reunited, a last-minute deception ensures that the two will forever come together and draw apart, just as all parents and children do.

Reznek's adaptation begins with the first of many memorable images, with the actress carefully rolling a thin-skinned, water-filled receptacle, which soon bursts and spills beyond the reach of her control. After establishing the relationship between Demeter and Kore, the piece shifts its focus to what Reznek has termed the moment of disappearing. Reznek then moves between characters, searches through mental and physical spaces and sifts through timelines to delve into this event and its ramifications from numerous perspectives. The play also dips into meta-theatrics, where conventional ideas of theatre-making and the actor-audience relationship are also ruptured.

I TURNED AWAY AND SHE WAS GONE shifts modes from epic-style narrative to poetry to conversation and back again, masterfully married to choreography by Ina Wichterich to original music by Neo Muyanga. Winterich's choreography achieves something that is too rarely seen on local stages of late, the development of a language of movement that establishes itself so thoroughly that its own deconstruction becomes possible within the same performance. Muyanga's score also effortlessly contributes to the texture of the piece.

Craig Leo's scenic design is an extraordinary distillation of Reznek's ideas into physical form. Conceptual distillation is also an essential element of Sanjin Muftic's videography for the piece. Every element of I TURNED AWAY AND SHE WAS GONE unites to form a complex play that respects both the intellectual and emotional intelligence of its audience.

The skilful negotiation between these vastly contrasting modes of performance and design elements is directed by Mark Fleishman. He combines Reznek's performance and the various visual and aural languages at play in a series of ever-shifting combinations, never sacrificing clarity for affectation while still honouring the complexity of the work.

The journeys travelled in I TURNED AWAY AND SHE WAS GONE are captivating. It is remarkable how this piece draws the audience deep into the heart of what transpires on stage. Seeking to heal that which has been torn apart, Reznek dexterously balances the heightened stylistic demands of her play with an intimacy that keeps the audience right there with her in the moment of performance. Words are perhaps inadequate repositories to record the visceral emotional experience of watching this play. It has to be seen. You have to live through it. And when you have, you too will see how I TURNED AWAY AND SHE WAS GONE continues to live in you, just as it has in me.

Tickets for I TURNED AWAY AND SHE WAS GONE cost R130 and are available through Webtickets, with concessions for scholars, students, pensioners and groups of 10 or more at R65 a ticket. Enjoy the Mothers and Daughters Two-for-One Special on Wednesdays 24 February, 2 and 9 March. With limited seating available in the Magnet Theatre, booking is essential. Ample parking is available next to the theatre.

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