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'Runacre-Temple is less interested in the myth than in the "winter of a mother," the separation from family and tribe, the question of who voluntarily separates from whom, and home as a prison. The mothers on stage – there are four of them, of different genders, in lime-yellow 1950s two-piece suits with pearl necklaces – have no choice but to wait for Persephone in the winter. Together in front of a telephone booth whose phone never rings.

Hades, meanwhile, arrives at the daughter's handover in a car, which represents the dark side of humanity. Also present:oil from the depths. This symbolizes more than just a gas pump. Many levels, then, but they came together well in the live recording, which – in addition to Runacre-Temple's original dance language – shows up close what defines people: emotions. The audience applauded the evening with cheers of bravo. The Stuttgart company, which danced brilliantly, opened up new facets.' STUTTGARTER ZEITUNG