Mlangeni’s narrative as an existential coming-of-age is refreshing because it almost refuses the naiveté of a traditional story of this structure. The birds are born with a knowing look. They refuse to smile from the start. “Ke nako,” Matsunyane’s character repeats. It is time. But where she sees ill-prepared fledglings, these birds are born with the ability to bear fists. They struggle. When they are separated and Mlangeni stands outside the mirror, Ndlovu holds her head in pain. They are never the same birds again and their bodies flick and flail until Matsunyane brings them all in line, with a third bird (Ipeleng Morafe) to follow her steps. But, even when they march in line in the second act, they are tall and stamp their feet and eventually disrupt Matsunyane’s glee. They appear like the colourful candles of a ritual ceremony in this second half. Dressed in bold primary colours in stove pipe hats, the trio makes magic of the lull of the march. They allow themselves to be arranged and re-arranged in lines until one rejects the business-as-usual formation and pulls off their sculptured business suit. It is Mlangeni who leaves the floor of this island of pretty confinement.
Back in the black spandex and tassels of her birth, but alone, she struggles towards the light.
If there is one thing that KGANYA drops, it is the ending. It is intended as an open ending; there are no neat endings in the theatre of the absurd. But the editing of the final moments of the work simply cut from the performance to an abrupt and unnecessary curtain call. There is no live audience.
KGANYA shines. Its spiritual question is held in a political space. The themes reverberate in a number of ways; about as many ways as we may feel oppressed. It shines a light on self-reflection and our need to pull through the despair of our absurd existence. Laugh or cry but, this caged bird dances towards freedom.