Magnet Theatre seeks to celebrate a spirit of theatrical research and to challenge participants in our activities, performers and audience, through experiences that shift bodies, assumptions, feelings, beliefs and understandings. We strive to be a moving force in the lives and minds of people in relation to changing local and global contexts.


Our mission is to create an original repertoire of South African productions, inspirational performance events and effective educational processes that emphasise the primacy of the human body in the act of theatre. Through explorations of our historical, contemporary and stylistic contexts we dedicate ourselves to raising levels of resources and energising audiences and theatre practitioners in the community at large.


  • To contribute significantly to capacity building and skills transfer amongst marginalised South African youth in the broader community through the sharing of theatre-making and physical theatre skills;
  • To radically shift access to tertiary institutions of education by providing facilitation and support to underprivileged youth who historically and currently have limited access to those institutions;
  • To contribute to job creation by empowering young people to become employable and by employing graduates from University drama departments and the Magnet Theatre training programmes who originate from the previously disadvantaged communities of the city, and giving them valuable work experience under the supervision of highly skilled practitioners;
  • To radically shift access to performance and arts activities by taking theatre and arts education out of conventional spaces into rural and peri-urban communities;
  • To significantly contribute to the building of youth community theatre as a legitimate form in the cultural environment;
  •  To continue to develop a profile for the company as an ongoing organisation with a specific artistic vision;
  • To create exciting, innovative and sophisticated African theatre which engages with our present condition in South Africa;
  • To contribute through creative product to a body of historical and cultural research;
  • To continue to develop a physical theatre language which is highly skilled, evocative and inventive and which operates as a means of overcoming vast language diversities;
  • To develop audiences for Magnet Theatre productions and for theatre in general in Cape Town and South Africa by exposing young people from communities across the city to theatre experiences of a high level of skill.

Organisation Information 2020

Magnet Theatre is an OPCO of 2 Trusts: The Magnet Theatre Educational Trust (established in 1998) and The Magnet Training and Youth Upliftment Trust with 18A status (established in 2011). Donations to the MTYUT are tax deductable.

Magnet Theatre Educational Trust

Registration number: IT 3514/98

Registration date: 21 September 1998

NPO registration number: 051-678-NPO

Registration date: 13 November 2006

PBO registration number: 930030113

Magnet Training and Youth Upliftment Trust

Registration Number: IT2592/2011

Registration Date: 2011

NPO Registration Number: 127-956NPO

NPO Registration Date: 25 September 2013

PBO Reference number: 930044236


  • Mark Fleishman: BA, Perf. Dip. (Speech & Drama) MA (UCT) PhD (UCT)
  • Mandla Mbothwe: BA (Hons) Perf. Dip. (Speech & Drama) (UCT) MA Theatre Making (UCT)
  • Jennie Reznek: BA, Perf. Dip. (Speech & Drama) (UCT), Diploma Ecole Jacques Lecoq (Paris, France), MA (UCT).
  • Neo Muyanga: Diploma in Philosophical Studies
  • Joonji Mdyogolo: Certificate advanced sub-editing (Wits), BA (Wits) Fullbright Fellow (University of Maryland)

Physical address:

Old Match Factory, corner St Michael and Lower Main Road,

Observatory, 7925

Postal address:

2 Morley Road,

Observatory, 7925


Phone: 021 448 3436

Fax: 086 667 3436

E-mail: admin@magnettheatre.co.za

Internet: www.magnettheatre.co.za


Alan Locketz – AML Management Services

P.O. Box 16370, Vlaeberg, 8018

Management committee:

Directors: Prof. Mark Fleishman (Artistic and Executive Director), Jennie Reznek (Artistic Director and Training Coordinator) Mandla Mbothwe (Artistic Director and Culture Gangs Coordinator)

Office manager/ Administrator: Jenny Hewlett

Other staff:

Production Manager: Themba Stewart

Fieldworkers: Yonela Sithela and Zukisane Nongogo

Expanded Public Works Program Interns 2020:

                        Zukisani Nongogo, Palesa Mahola, Yumkela Sotupo,  Sityhilelo Makupula

Trainees on the Magnet Theatre Full time Training and Job Creation Program:

2008 – 2010:       Asanda Rilityana, Luvo Tamba, Mziwandile Nofomele, Nandipha Mnyaka, Phumza Tshem, Thando Doni, Themba Mqinileyo, Thumeka Mzayiya.

2010-2011:        Mhlangabezi Mkorwana, Nolufefe Ntshuntshe, Lusanda Dayimani, Noxolo Bodlani, Sipho Mahlatshana, Aphiwe Menziwa, Thembekile Komani, Maggie Fernando, Kay-Lee Esterhuizen, Sonwabile Nhanha, Aiden van der Westhuizen (Jazzart) and Jesmary Jooste (Clanwilliam).

2012 -2013:        Anelisa Dlaku, Asiphe Lili, Babalwa Makwetu, Bulelani Mabutyana, Dustin Beck, Eddie Newman Jeoffrey Makobela, Lubablo Nontwana, Marlon Swarts, Musa Silwana, Nomzamo Kula, Rozanne Holland, Siphenathi Mayekiso, Shaun Smith, Sisipho Mbopa, Sivuyile Dunjwa, Stacy Malgarte, Thukela Maka, Thulisa Mayalo, Yonela Sithela.

2014 – 2015:       Anne Bosch, Athenkosi Mfamela, Ayanda Haas, Beviol Swartz, Emmanuel Ntsamba, Ferdinand Williams (left program 2014), Kay Smith, Livie Ncanywa, Loyiso Damoyi (left program 2014), Luthando Mvandaba, Lwando Magwaca, Marlon Swarts (re-joined program 2015), Meagan Booysen, Mfundo Zono, Natasha Gana, Thando Suselo, Tina Hashe, Willmare Meloy, Zimkhita Mzimba, Zizipho Quluba, Zolisa Nkonyana

2016:                Beviol Swartz, Emmanuel Ntsamba, Livie Ncanywa, Luthando Mvandaba, Lwando Magwaca Meagan Booysen, Zizipho Quluba, Natasha Gana, Lwanda Sindaphi (Theatre-maker) Nwabisa Plaaitjie (Theatre-maker)

2017 – 2018:                Abigail Mei, Andiswa Anthony, Asamkela Ketelo, Bonga Tshabalala, Carlo Daniels, Luxolo Mboso, Meltina Samuels, Mpumelelo Phanginxiwa, Siyavuya Gqumehlo, Nthabeleng Jafta, Palesa Mihlali Mohlala, Rene   Brown, Siphesande Mkokose, Sivenathi Sibahle Macibela, Sizwe Emmanuel Lubengu, Sydwell Klaas, Songezo Mtshixa, Sityhilelo Makupula, Vela Leon Zozo, Yvonne Msebenzi.

2019: Abigail Mei, Carlo Daniels, Luxolo Mboso, Siyavuya Gqumehlo, Sivenathi Sibahle, Sizwe Emmanuel, Sityhilelo Makupula, Yvonne Msebenzi.

2020: Azola  Mkhabile, Bongani Dyalivana, Buhle Stefane, Bulelwa Mbalo, Donnay  Arendse, Gabriel  Buis, Khaya Magantsela, Kuhle Myathaza, Lindokuhle Melaphi, Litha Xabadiya, Lungisani Dyalvani, Mihlali  Bele, Molupi Lepeli, Nosiphiwo  Ndabeni, Olwethu Qavile, Siphenathi  Siqwayi, Siphesihle Nkantini, Sipho  Kalako, Thabo Mkenene, Wendy  Mrali, Yolanda  Gaqa.


Magnet Theatre is an independent South African physical theatre company that has operated for the past 32 years regionally, nationally and internationally. Magnet Theatre was formed in 1987 to produce Jennie Reznek’s first one-person performance, Cheap Flights.  It re-emerged in 1991 to produce The Show’s Not over ‘Til the Fat Lady Sings in Cape Town, Johannesburg, Grahamstown, Pietermaritzburg, Windhoek, London, Brighton, Manchester, Glastonbury, Glasgow, Edinburgh, Amsterdam, Hong Kong and Stockholm.  In 1994, after touring for two and a half years, we returned to South Africa and have subsequently created a significant body of work.  We have:

  • Through a collaboration with Jazzart Dance Theatre created 7 new works – MEDEA (1994), THE SUN, THE MOON AND THE KNIFE (1995), SOE LOEP ONS … NOU NOG! (1996), VLAM 2 (1999), COLD WATERS/ THIRSTY SOULS (2002), RAIN IN A DEAD MAN’S FOOTPRINTS (2004/2005) and CARGO (2007);
  • Adapted and staged Herman Melville’s epic novel – MOBY DICK (1994);
  • Created 2 female solo pieces – I DO X 22 (1997) and 53 DEGREES (2002);
  • Created 3 outdoor theatre productions – PUMP (1998/9), ONNEST’BO (2002/3/5/6) and DIE VREEMDELING (2010/11);
  • Created a large-scale outdoor performance event, VLAM 1 (1999), to celebrate the dawn of the new millennium in collaboration with Jazzart and Southern Edge Arts of Western Australia;
  • Adapted the stories of the acclaimed Mozambican author, Mia Couto, for the stage as VOICES MADE NIGHT (2000/1, 2007, 2012/13);
  • Collaborated with Theatre Spirale (Geneva) on a South African version of the Swiss play THE FIRE RAISERS by Max Frisch (2004), combining seven South African actors with actors from Mali, Indonesia and Switzerland;
  • Created EVERY YEAR, EVERY DAY, I AM WALKING  on the subject of refugees in Africa for the African Festival of Youth and Children’s Theatre in Yaounde, Cameroon (2006) with further performances at the National Festival of the Arts in Grahamstown (2007 and 2009), Cape Town (2007 and 2010), Johannesburg (2008), Hilton Festival (2008), KKNK (2009), Aardklop (2009), in 9 SADC countries (2008/9) and Oval House, London (2010); as well as at the London International Festival of Theatre (2006/7), Proyecto Festival, Argentina (2009); Juice Festival, Newcastle-Gateshead (2009);  International Theatre Festival of Kerala, India (2009) Oval House, London(2010), IDEA Congress, Brazil (2010), ASSITEJ World Conference 2011 in Malmo Sweden, Schone Aussicht (Bright View) in Stuttgart, Germany in 2012, Cena Contemporânea – Festival Internacional De Teatro De Brasília in Brasilia, Brazil in 2012, Kijimuna Festa 2012 / Assitej International Meeting in Okinawa, Japan, a residency at the University of Massachusetts, Amherst, USA in 2013, Escapades Festival for Young Audiences in Paris, France in 2013 and most recently in Shikoku Island, Japan 2018 and The Baxter Theatre 2019.
  • Created ISIVUNO SAMA PHUPHA, a collaboration with UCT Drama School and  Magnet Theatre’s Community Groups Intervention at the Arena Theatre and at The Spier Infecting the City Summer Arts Festival( 2007);
  • Created INGCWABA LENDODA LISE CANKWE NDLELA, an isiXhosa production as part of the Magnet Theatre Educational Trust training programme, performing for the Spier Infecting the City Festival, for the National Arts Festival Fringe, on tour in the Eastern Cape, for Arts Alive 969 Festival (Jhb.) (2009), and at the Artscape Arena (2010);
  • Created INXEBA LOMPHILISI (The wound of a healer), an isiXhosa production which was first performed on the Main Festival, Grahamstown and again at The Baxter Theatre Centre in 2010;
  • Created AUTOPSY a thriller that excavated the current African landscape unearthing shady deals, unsolved murders and dealt with major themes relevant to SA and the rest of the world.  The play was first performed at Aardklop National Arts Festival in 2010 and again at the Magnet Theatre in Cape Town in 2012;
  • Created KRAGBOX which told the story of two youngsters who grew up on the streets of Lavender Hill, Mitchells Plain, or Hanover Park, Manenberg, or Bonteheuwel. The piece explores notions of male identity and masculinity in communities dominated by gangsterism and violence.  The play performed at Magnet Theatre in 2011, Artscape Arena Theatre 2012 and the Clover Aardklop Nasionale Kunstefees 2012;
  • Created RUNNING WITH GOLDFISH AND GIFT WRAPPING THE SEA with the 2012/13 trainees which performed at Magnet Theatre;
  • Created TREE/UMTHI/BOOM an Early Years production aimed at audiences between 1 and 6 years old which toured to townships in the Cape Town area, toured to Bologna, Italy, performed at Artscape Theatre Centre and toured to Hamburg and Stuttgart in Germany, Durham, Bath and Manchester, UK and New York. (2013/14/15/16);
  • Created HEART OF REDNESS in collaboration with Cape Town Opera in 2013 performed by the 2012/13 trainees and young singers from the Cape Town Opera Studio, later performed at The Fugard in 2015;
  • Created UKHANYO with the 2014/15 trainees which performed at Magnet Theatre;
  • In collaboration with The Baxter and the Department of Cultural Affairs and Sport created PASSAGE which focused on male rites of passage and the meaning of masculinity in the current time (2014);
  • Created IN THE CITY OF PARADISE with the 2014/2015 trainees directed by Mark Fleishman;
  • Created I TURNED AWAY AND SHE WAS GONE in 2014.  Drawing loosely on the Greek myth of Demeter and Persephone, this new play explores the process of individuation, the inevitability of the journey into the shadow and into the unknown, of the bonds that connect mothers and children to each other, of loss and the dense beautiful soaring life that we are all traveling through.  The production was showcased at Magnet Theatre in 2014 and had a full performance run in 2015, at the Hilton Arts Festival (2014/15) The Market Theatre in Johannesburg and Frascati in Amsterdam, Netherlands (2016); Toured to Hellwach Festival in Hamm, Germany 2017:
  • Created G7: OKWE-BOKWE about the Gugulethu Seven with the trainees on the Magnet Theatre Fulltime Training  and Job Creation programme 2017 and toured the production to the National Arts festival in Makhanda as part of the Main Festival 2019;
  • Created ANTIGONE (NOT QUITE/QUIET) with the trainees in the Magnet Theatre Fulltime Training and Job Creation programme 2019 as part of a collaboration with the University of Cape Town’s Centre for Dance and Performance Studies (CTDPS)  Reimagining Tragedy in Africa and the Global South (RETAGS) and premiered at the Baxter Theatre 2019;
  • Created STONE PLAY for 3 -6 year olds commissioned by Visioni 2020 in Bolologna Italy 2020;
  • Established the COMMUNITY GROUPS INTERVENTION which mentored 8 youth drama groups from Khayelitsha (2002/3/4/5/7);
  • Run the CULTURE GANGS PROJECT with youth drama groups from diverse townships around Cape Town, establishing gangs of youth committed to culture rather than to crime  (2011/12/13/14/15/16/17/18/19/20);
  • Established FULL TIME TRAINING AND JOB CREATION PROGRAMME with young actors from townships in and around Cape Town (2008/9/10/11/12/13/14/15/16/17/18/19/20) – A 2 year full time bridging training programme for unemployed marginalised youth.  73 graduates. Currently busy with the 6th cohort;
  • Run the CLANWILLIAM ARTS PROJECT (a Collaboration with UCT’s Michaelis School of Art, UCT  Drama   School, Jazzart, Namjive and The Living Landscapes Project)  for the children of Clanwilliam (2001-2018);
  • Run the COMMUNITY ARTS DEVELOPMENT in Clanwilliam and Okiep, an ongoing yearlong arts intervention which has resulted in the  establishment of the youth drama group COMNET  and relationships with other organisations like BOSASA in the area (2007 – 2014).  In 2014 the project was extended to include FARM SCHOOLS in the Cederberg region (2014/15/16/17/18);
  • Established an Early Years touring theatre company in 2015 through flagship funding from the National Arts Council which has created and performed EKHAYA and KNOCK!  and the first ever South African play for Moms and Babes under the age of 12 months – SCOOP: KITCHEN PLAY FOR CARERS AND BABES- in crèches and aftercare centres in Cape Town, the Cederberg Municipal area and Okiep in the Northern Cape (2015); EKHAYA has  also performed internationally at Testoni Ragazzi Festival in Bologna, Italy (2017), Reunion (2018) and France (2019). KNOCK! Has performed at Brooklyn Academy of Music, NYC (2018) and Toronto, Canada (2018):
  • Created (with the support of Goethe Institute and Helios Theatre in Germany) 2 works for under 7’s: PAIRED and AHA! AHA! which toured to Hellwach festival in Germany in 2017 and 2 tours to China in  2018/2019. PAIRED toured to Berlin in 2019;
  • Invited 8 theatre practitioners from Nigeria, Cameroon, Zimbabwe and Kenya to participate in an Early Years Training module in 2015 with the support of Goethe Institute which resulted in the creation of 2 new African Theatre companies and the works SANDSCAPES and WOODWAYS;
  • Invited 6 practitioners from Botswana,  Lesotho, Uganda and Mozambique to participate in a second Early Years Training module in 2018 again with the support of the Goethe Institut SA which resulted in the creation of a further 2 new African Theatre companies and 2 news works – TRANSFORM and PLASTIKA. Both shows performed at the Assitej Cradle of creativity Festival in 2019;
  • Developed 4 new works with the Magnet Theatre trainees for early Years audiences and toured these works to the poorest crèches and child care centres in the Cape Town townships and Cape Flats. ROCKIN’ MBOKODO, RESHAPE, SH!, and UBIZO are all works created specifically for South African children under the age of 7 years of age, reflecting songs, language and cultural references of the global south;SH! performed in the UAE in January 2020, ROCKIN’ MBOKODO in Nigeria at KIFT in 2019 and both shows at the Assitej festival at the Baxter Theatre in 2019;
  • Produced Lwanda Sindaphi’s KUDU and Nwabisa Plaatjie’s 23 YEARS ONE MONTH AND SEVEN DAYS as part of a theatre making internship in 2016. Both shows ran at the Baxter Theatre in 2017 and  KUDU won 3 Fleur du Cap Awards for Best new SA script, best New Director and Best Ensemble;
  • Run workshops in mime, physical theatre and mask throughout the country;
  • Extended and shared our knowledge of physical theatre styles and collective-creativity with students, as part of our University teaching;
  • Maintained the Magnet Theatre space in Observatory since 2010 as a training and performance space;
  • Sustained 32 years of continuity of work and an increasing national and international profile.

Critical responses to previous Magnet Theatre productions:


“Great theatre … beautiful work … sends you out of the theatre brimming with joy”.  – Barry Ronge, Sunday Times

MEDEA (Winner of the 1995 FNB National Vita Award for “Best Production of a New South African Work”) 1994/5/6

“If the standard of Medea can be used as a yardstick, Fleishman and Reznek are on their way to forging a new dramatic language which will propel … South African theatre into a more hopeful era.”  – Hazel Friedman, Mail & Guardian


“So, MEDEA wasn’t a flash in the creative pan, it was a significant beginning, a marriage of concept and process that is enriching our cross over theatre repertory. …  [The Sun, The Moon & The Knife] is a vividly articulate theatre piece which will be as effective in a community library as it will on a fancy stage.”  – Adrienne Sichel, The Star Tonight!


“… a superb one-woman show … Soe Loep Ons … Nou Nog! captures the spirit of our times and the place we live in a way that makes the audience feel part of a broader cultural and historical process, while being vastly entertaining at the same time.  … defiant, brave and affirms the humanity in all of us.”  – Wilhelm Snyman, Cape Times

I DO X 22 1997/98 (Winner of Best Actor – Fleur du Cap, 1997):

“This is a wonderful feel-good show, … a winner.  I Do x 22 is like delicious gossip whispered at a party.” – Kobus Oosthuizen, Argus

Vlam 2 1999/2000

“The Jazzart/Magnet Theatre alliance has been responsible for some of the best movement theatre this country has seen, … and this show is clearly from that stable.  What sets these collaborations apart is the obvious hand of the director (Magnet Theatre’s Mark Fleishman assisted by Jennie Reznek).” – Andrew Gilder, Cape Times

VOICES MADE NIGHT (Winner Best Director, Best Actress, Best lighting Design – FNB Vita 2000) 2000/1/7

“Magnet Theatre has consistently remained on the cutting edge of South African art and culture.(Voices Made Night) combines the best of all worlds … a show that reflects the unique identity of South African theatre.” – Roger Lucey, e-tv news

COLD WATERS/THIRSTY SOULS (Winner Best Ensemble Choreography, FNB Vita 2002) 2001

Cold Waters/Thirsty Souls proved to be yet another watershed in the history of South African dance. … Groundbreaking. Technique is used as a weapon. The quality of the dancing has a razor edge, a supercharged physicality… steers away from the literal in favour of a mindscape impregnated with symbolism; freely associated with poverty, violence, education, gender, identity, sustenance, survival and healing.” – Adrienne Sichel, The Star Tonight!

“Contemporary and elemental, this is dance theatre the way it should be. Disturbing and disjunctive. No time to sleep while others weep.”  Gael Reagon, Cape Times

53 DEGREES 2002/3

“Refreshing theatre that plays with light, sound, music, spaces, levels and illusions.  One struggles to find words to describe this experience.” – Kobus Burger, Beeld

ONNEST’BO   2002/3/5/6

“The power with which physical theatre was raised to new heights in this delightfully funny and pertinent story was astounding. Struggles are demonstrated in symbolism and metaphoric images rather than in real descriptions. It is enjoyable theatre with an important message.” Rafiek Mammon, Cape Times

This is what the schools have said about Onnest’bo: “Die feit dat daar nie baie gepraat is nie, kon die leerders se aandag vasvang en hou en geen dialoog gaan verlore omdat leerlinge miskien lag nie. Leerders het dit waardeer. Vir die Afrikaans Tweede Taal was dit wonderlik om ‘n kykie te kry in ‘n stukkie geskiedenis en lewe van Distrik Ses vir die voorgeskrewe boek wat hulle doen.” – Shirley Richter, Belhar High.


“… pure theatre, relevant, yes, but exciting, entertaining, never dull and worthy. And so original! Spontaneous cheers and standing ovation greeted the end of the performance.” – Nigel Vermaas, SAFM

EVERY  YEAR,  EVERY DAY,  I  AM WALKING   2006/7/8/9/10/20 (Winner Best actresses Absa Aardklop National Arts festival 2009; Best actress nomination KKNK 2009; Best Foreign Production nomination, Teatro Del Mundo, Argentina 2009; Best Ensemble nomination Fleur du Cap Awards 2029/2020)

“Creative sorcery: Simplicity is the key to this profoundly moving tale about loss and survival. Exquisite.” Adrienne Sichel, Argus Tonight

“Powerful drama beautifully portrayed. Settle in to witness a different type of theatre.”Brett Adkins, The Herald

“Expect to be transformed.” Anton Krueger, Cue

CARGO   2007

“Inspired staging, evocative music and committed performance from its dancers combined to make this collaborative production a winner” Beverly Brommert, Argus Tonight

“Beware those in the front three rows – this highly energetic and textually dense production might leave you wet and dirty… You would have to be a stone not to be moved and you would have to be a fool to miss it” Russell Baker, Cape Times


“The audience had become participants in Magnet Theatre’s Isivuno Sama Phupha (Harvest of Dreams) – a nightmare of rapturous beauty. We became intoxicated with the heat, then were redeemed by the most fantastic drumming and by a wailing chant whose laying bare of the essence of the human soul was pure Africa.” Jonathan Richmond, The Nation


“It is a simple tale told in traditional style, but the emotional heft is handled with a gracious maturity… innovative.”  Diane de Beer, Tonight Festival (NAF)


“The beauty of isiXhosa is clearly and rhythmically articulated. For those who don’t understand, the sensory way in which the story is told makes it understood. It’s a detailed and cohesive quality production.” Fiona Gordon, Cue newspaper, 25 June 2010.

The actors’ movements are captivating. Ina Wichterich’s choreography is superb and Jennie Reznek’s movement direction complements the excellent direction of Mandla Mbothwe and Faniswa Yisa.  The supporting cast produced such polished performances it was hard to believe they were not all veteran actors.”  Gill Gimberg The Writing Studio

DIE VREEMDELING 2010 (Aardklop Kunstefees: Nominated Best New Afrikaans Production and Best Actor and kykNET Fiesta toekennings:  Nominated Best New Production, Best Up and Coming Actor and Best Supporting Actor).

“You will seldom leave a production directed by Mark Fleishman without some fairy dust floating from your shoulders.  Die Vreemdeling is a story that is oft told, but in the hands of this physical theatre company it casts a spell and shows how simple storytelling, when done by the best, is unbeatable.” Diane de Beer, TONIGHT, 5 October 2010

AUTOPSY 2010/2012 (Fleur du Cap Best Supporting Actress Nomination 2013)

“’n Avontuurlike rit wat ‘n Alfred Hitchcock graag sou wou bedink het en later trots op sou wees.  Mark Fleishman en Jennie Reznek se Magnet Theatre trek alles aan. (An adventurous ride which Alfred Hitchcock would have loved to have thought up and would have been proud of.  Mark Fleishman and Jennie Reznek’s Magnet Theatre attracts everything.)” Paul Boekkooi, Bylae tot Beeld.

“I was left with my jaw hanging at witnessing the physical strength of the four actors. What an experience.  Autopsy is a must see.” Andrea Cibrario, What’s on in Cape Town.  March 2012

“Cutting through the state of the nation, Autopsy asks some pertinent and serious political questions.” Theresa Smith, The Argus Tonight.  20 March 2012

KRAGBOX 2011/12

“The story is great, the performers are fantastic (I love watching them both), the language (totally local Afrikaans) is delicious and the piece is fresh, new and exciting.” Megan Choritz, Megan’s Head, 1 December 2011


Passage, currently running at the Baxter Theatre, is achingly relevant. This stirring social commentary in the vein of a ‘dramedy’ aims to address the racial, divisive, misogynistic and homophobic aspects of modern masculinity in which African tradition is steeped.”  Benn Van Der Westhuizen, What’s On, 10 March 2014

“This is more than a play, it is the beginning of a dialogue, an interrogation of the state of manhood in South Africa in particular.”  Tracey Saunders, Cape Times, 19 March 2014

I TURNED AWAY AND SHE WAS GONE 2014/15/16 (Nominated for 4 Fleur du Cap Awards 2016 and 2 Naledi Awards 2017)

“Watching Jennie move, transform gracefully from one character into another, with choreography by Ina Wichterich, is like watching poetry in motion – every emotion is expressed so powerfully, every physical action performed so well that you can hardly tear your eyes away from her.” Fazielah Williams, Theatre Scene Cape Town, March 2015

“Reznek lays bare the inter-generational skirmishes with tenderness and intriguingly the battle with one’s aging self with a poignancy that is as honest as it is memorable.”  Tracey Saunders, Cape Times, March 2015


“The confluence of fictional narrative and history, music and religion results in a dense aural experience” Tracey Saunders, Cape Times, August 2015

“…an artistic success. The collaboration between Cape Town Opera, the physical theatre company Magnet Theatre and celebrated local composer Neo Muyanga is unlike anything I’d seen before.”  Peter Tromp, Next48 hours, August 2015

TREE/BOOM/UMTHI (Winner Dassie Award for Best Children’s Production 2014)

“ it is rare to find a piece as beautifully shaped for a specific age group as Magnet Theatre’s enchanting TREE / BOOM / UMTHI.….. Watching the children engage with the performance is delightful. There is room for the youngsters to engage with the story at their own level of development, but they are never less than completely entranced by the variety of images, shapes, sounds and movement.” David Fick, Broadway World, October 2014


“Performing for children has several challenges and is not within every actor’s grasp.  This young cast manage to perform for and with the children.  Their ability to engage with them without being patronising is delightful to watch.” Tracey Saunders, Cape Times, December 01, 2015

SCOOP 2015

“SCOOP is carefully calibrated to show adult carers that even little babies are exploring their environment and their minds can be so easily stimulated if you actually interact directly with them.”  Theresa Smith, Cape Argus, December 08, 2015

“The enchanting theatrical debut for babies made a lasting impression on audiences and theatre practitioners alike. The Magnet team has recreated that sense of wonder in SCOOP.”  Tracey Saunders, Cape Times, December 01, 2015


“What Magnet Theatre has done with Friedrich Dürrenmatt’s The Visit is dynamic, fascinating, disturbing – a treatment that showcases both the gravitas of the script and the great ingenuity of the team. Audience attention is riveted for all three acts of this tragi-comedy, with powerful performances and a script that is oh-so-relevant maintaining engagement. And ironically, it is the very limitations imposed on this production that make it so riveting.” Karen Rutter, Weekend Special, 17 June 2018

KNOCK!  2018 (Nominated for Dora Award, Toronto Canada for best Children’s production 2019)

“I did not feel like I was watching a play for children but rather an expression of life at its most optimistic and transformative. KNOCK! was born through a workshopped process by the director and cast and it’s alive with fresh creativity.” Jaqueline Claire Stage Biz, April 27, 2018

G7: OKWE -BOKWE 2019 (Nominated for Best Director, Best New South African Script, Best Ensemble, Best Original Score for 2019/2020 Fleur du Cap Awards)

“…every element of the show is exactly how it should be for the entire journey. A Magnet Theatre production, it is masterfully choreographed and patrons are riveted from the moment the lights go out, even if they understand no Xhosa.” Claire Keeton Times Select, 26 June 2019

“The performances are incredible…. I sat next to a former Mkhonto we Sizwe fighter who was overcome with emotion. Do not miss this show!” The Critter I July, 2019

ANTIGONE (NOT QUITE/QUIET) 2019 (Nominated for Best Ensemble, Best Original Score for 2019/2020 Fleur du Cap Awards)

“The deep human piece is fully characterized by our time, the nationwide revolt of ordinary citizens against many issues, from gender violence to poor service delivery. It rebukes and challenges. Even more, it appeals to the theatergoer: You are here, get involved, do something to make this country a better place…..May it be seen widely here and overseas and may we begin to see much of this type of theater now. Theater like that serves as beacons for our path as citizens and as people.” Leatitia Pople, Die Burger, 21 September 2019 



  • 1987:  Cheap Flights:
    • VITA Awards:  Nominated as Best Actress
    • Dalro Awards:  Best Actress
  • 1991/2/3:  The Show’s not over Till the Fat Lady Sings:
    • FNB VITA Awards:  Nominated as Best Director and Best Script
    • VITA Awards: Best Comedy Performances, 1992
    • VITA Awards:  Best Actress, 1993
  • 1994 – 1996:  Medea:
    • FNB VITA Awards:  Best Production of a new South African Work.
  • 1997/8: I DO x 22:
    • FNB VITA Awards:  Nominated as Best New Indigenous Script
    • Fleur du Cap Awards:  Best Actor
  • 2000/1:  Voices Made Night:
    • FNB VITA Awards:  Best Director, Best Actress, Best Lighting
  • 2006/7/8/9/10:  Every Year, Every Day, I Am Walking:
    • Klein Karoo Nasionale Kunstefees:  Nominated as Best Actress, 2009
    • Argentinean World Theatre Awards:  Nominated as Best Production, 2009
    • Aardklop Kunstefees:  Best Actress, 2009
    • Fleur Du Cap Awards 2020: Best Ensemble, Best Sound Design
  • 2010:  Die Vreemdeling:
    • Aardklop Kunstefees:  Nominated Best New Afrikaans Production and Best Actor
    • kykNET Fiesta toekennings:  Nominated Best New Production, Best Up and Coming Actor and Best Supporting Actor.
  • 2103: Autopsy:
    • Fleur Du Cap: Nominated Best Supporting Actress
  • 2014: Tree/Boom/Umthi:
    • Dassie Award: Best Children’s Production
  • 2016: I Turned Away and She Was Gone:
  • Fleur Du Cap: Nominated Best Actress, Best New South African play, Best Solo, Best Original Sound Design
  • Naledi: Best Cutting-Edge Production, Best Original Score 2017
  • 2018: KNOCK!
  • Nominated for a Dora Award Toronto, Canada for Best Children’s Production 2018
  • 2019: G7: OKWE-BOKHWE (Like/of a goat)
  • Nominated for Best New South African Scrpit, Best Performance by an Ensemble, best Sound Design, Best Director for Fleur Du cap Awards 2020
  • 2010 Magnet Theatre received a Fleur du Cap Award for Innovation. The citation reads:

“Since its establishment in 1987, Magnet Theatre under the directorship of Mark Fleishman, Jennie Reznek and Mandla Mbothwe, has not only consistently created excellent and innovative professional stage work, but also shared knowledge, creativity and expertise through collaborations with fellow actors, educational institutions and other theatre and dance companies. Their work in physical theatre has been pioneering and has influenced and inspired theatre makers, performers and audiences locally, on the African continent and abroad.”

  • In January 2013 Magnet Theatre received an award from the Department of Cultural Affairs and Sport of the Western Cape Government for its Contribution to the arts in the Drama category.
  • Magnet Theatre was nominated for the 2014 ASSITEJ International Award for Artistic Excellence in Theatre for Children and Youth and received a 4th Honorable Mention (out of 35 companies) for ‘the original style of their work and the wide range of activity from professional theatre to theatre with youngsters’.
  • Cliffe Dekker Hofmeyr Inc. and Magnet Theatre received a BASA Award in 2015 in the Sponsorship in Kind category. “The Sponsorship In Kind Award went to Cliffe Dekker Hofmeyr Inc., proud partner of The Magnet Theatre Educational Trust, united by a mission to facilitate access to avenues of empowerment and transformation for historically disadvantaged and vulnerable groups.  In particular, the partnership culminated in Magnet’s successful application for Section 18A status, contributing to improved sustainability.”
  • Distell and Magnet Theatre won a BASA Development Award in 2016 for the youth development work in Cape Town townships, Cederberg municipality and The Fulltime Training and Job Creation Programme.
  • In 2017 Magnet Theatre received an award from the  Department of Cultural Affairs and Sport of the Western Cape Government for  the Best Heritage Project for the Clanwilliam Arts Project.
  • Magnet Theatre was nominated for an international Action for Equity award in 2018.
  • In 2019 Magnet Theatre received an award from the Department of Cultural Affairs and Sport of the Western Cape Government for Performing Arts for the Best Contribution to Drama.