Molora is a raw, moving and intense examination of that most human - and most devastating - of acts, revenge. South African theatre company The Farber Foundry have adapted the Greek tragedy the Oresteia Trilogy, in which a mother murders her husband in revenge for him killing their child. She then enslaves her daughter, before being killed by her vengeful son.

This story is transposed to apartheid South Africa. It is set at the Truth and Reconciliation Committee and centres on the relationship between the mother, Klytemnestra, and daughter Elektra who testify at the committee. After her beloved father is murdered, Elektra is tortured by her mother and forced to be her slave. Elekra's hatred of Klytemnestra grows and she lives in hope that her exiled brother will return and kill her. Klytemnestra is wracked with guilt and dreams she gives birth to a snake that sucks blood from her breast.

The acting of both Dorothy Ann Gould (Klytemnestra) and Jabulile Tshabalala (Elekra) is immensely powerful, passionate and highly energetic. The play is violent and features some disturbing and gruesome scenes; the characters bathe in the blood of the dead and torture is simulated.

This all takes place in close proximity to the audience, as the seating has been set up around the stage, making the performance far more intimate. But in constant contrast to the violence is the beautiful and soothing singing of a group of Xhosa women whose traditional African music is interwoven into the play - just as a Greek chorus would have done in the original. These women represent the conscience of the community and are the ordinary people who attend the Truth and Reconciliation Committee.

They speak and sing in the SeSotho language. Elekra and her brother also revert to SeSotho in the most emotional parts of the play, compounding its South African soul. References from the Greek trilogy are scattered throughout the production giving it a poetic and mythical quality.

Despite the pain and torment at the heart of Molora (which can be seen until tomorrow), it is extremely compelling and, ultimately, uplifting to watch. For, happily, the adaptation does not follow the Oresteia Trilogy to the letter. Finally, redemption triumphs over revenge, reflecting the amazing forgiveness of the South African people towards their oppressors.