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– Kavitha Pillay, The Witness (Pietermaritzburg), 23 February 2017


After growing up hearing and watching Evita Bezuidenhout, I’ve always wanted to meet the man behind the extraordinary character who has touched lives with laughter through his uncanny ability to get away with saying it like it is.


What inspired Evita, how satirist Pieter-Dirk Uys gets into character and how he has achieved a growing audience through difficult and ever-changing times, were some of the questions I’ve always wanted to ask. All of that and more was revealed in his latest one-man memoir THE ECHO OF A NOISE  in which Uys takes the audience on an emotional journey, detailing personal accounts of his life.


Watching this intimate performance was like having a one-on-one conversation with Uys. With the use of no set or props — except the stool on which he sits, and his masterly crafted personal story — Uys is able to transport the audience into his world. In THE ECHO OF A NOISE  we learn about his family and childhood, his passions, struggles and triumphs — from dealing with personal loss to pursuing his goals of being an actor who breaks all the laws during apartheid — all of which is exceptionally narrated with accents and expressions that Uys is well-known and loved for. He has the extraordinary ability to capture imaginations while getting viewers to laugh, cry, reminisce and even nod in agreement to his many wise statements — certainly making him at the age of 71, one of South Africa’s greatest performing artists.


For a unique opportunity to enjoy an intimate performance while learning more about the legendary actor, and of course a night of laughter, then don’t miss THE ECHO OF A NOISE.




Pieter-Dirk Uys set to share the story of his life on and off the stage

– Estelle Sinkins, the Luvvie, 20 February 2017


This month sees the return of master satirist, Pieter-Dirk Uys, to the Hexagon Theatre in Golf Road, Pietermaritzburg, with two of his shows — The Echo of a Noise on Tuesday, February 21, Wednesday, February 22, Friday, February 24 and Saturday, February 25, and An Evening with Evita Bezuidenhout on Thursday, February 23 and Saturday, February 25. Uys spoke to http://www.theluvvie.com ahead of the shows.


In your own words, and for the record, what are some of the topics audiences can look forward to in The Echo of a Noise?


It’s the story of a life well-lived — a boy from Pinelands who grew up in a fractured society blessed with parents who brought music and love into the family. A boy who was stricken by the disease to please from an early age, overshadowed by church and school and a very strict father, and yet finding inspiration and excitement through his fantasies and imagination. The topics in the story will be shared by most of the audience: father, mother, sister, cat, swopping comics, seeing movies, Mozart, Elvis, something called sex, something named death, something remembered as love, laughter and maybe a tear — but throughout all the familiar noises of life that eventually create a symphony of celebration.


How is The Echo of a Noise different from your previous one-man shows?


I have never had the courage to get out from behind the masks and facades of the many characters I have performed on stage for over 7000 times. They were mainly there to focus on political madness and mirth. This is the first time I tell the story behind the stories. Maybe turning 70 has given me the thumbs-up to share the secrets and let the cat out of the bag.


South Africa was a very conservative place when you started your career as a performer. What made you decide to bring Tannie Evita to life and to keep doing so despite the reaction from the censor board?


I think the restrictions I was faced with helped me create possibilities of confronting them through unexplored avenues — in my case, using humour as a weapon of mass distraction. To laugh at fear could help make that fear less fearful, and let’s face it, our lives in South Africa during the 50s, 60s, 70s, and 1980s were shaped by fears. Laughter was a relief. It still is. And Evita was just one of those characters who eventually stepped out of the satirical cluster and became the most famous white woman in South Africa — then and now.


Have audiences’ reactions to your work changed over the years and if so, how and why do you think that is?


I expect my audience to change reactions from performance to performance, because the material is based on the news of the day and often the prejudices we all have to face when confronted with so many choices, especially in this democracy that constantly demands change of mind and opinion. Theatre is live; news is live — and yet entertainment demands more than just headlines. My characters have to be familiar and representative of the many areas of conflict. I try and keep to the balance of 49% anger versus 51% entertainment. Then and now.


What is it about theatre that keeps bringing you back to the stage?


I’ve been doing what I do since 1968 — it is a full-time commitment and because it is always reinventing itself, theatre keeps me on my toes and living in the moment. The great library of stories that have been shared from the stage has done so much to allow us in the audience to confront the drama of life, of relationships, of pain, of turmoil and strife. And of course, the release of tensions through   laughter, either via comedy or humour. Politics has today become pure theatre, but I would rather stick to the stage that be brained in Parliament by a flying red hardhat!





Tuesday, 21 February at 7.30pm – The Echo of a Noise

Wednesday, 22 February at 7.30pm – The Echo of a Noise

Thursday, 23 February at 7.30pm – An Evening with Evita Bezuidenhout

Friday, 24 February at 7.30pm – The Echo of a Noise

Saturday, 25 February at 3pm – An Afternoon with Evita Bezuidenhout

Saturday, 25 February at 7.30pm – The Echo of a Noise


Tickets R150 (R120 for seniors/students). Book at webtickets.co.za


    Follow the latest episode of Evita’s Free Speech on YouTube every Sunday at www.pdu.co.za




The Echo of a Noise — Theatre Review

– Carla Bernardo, Tonight, 1 December 2016


Once, a few years ago, I attended the funeral of a family friend, accompanied by my mother.


At that stage in my life, I’d been to about five funerals and I wasn’t quite accustomed to funeral etiquette. So, after one particularly emotive and well-worded obituary, I began clapping. Yes, I clapped. At a funeral.


Anyway, I’m bringing this up because on Wednesday night, I attended Pieter-Dirk Uys’ one-man memoir, “The Echo of a Noise” at the Baxter Theatre.


Surrounded by the likes of Mike Van Graan and Justice Albie Sachs — and, in general, an entire audience of older, better-dressed South Africans — I felt uncomfortable, unfamiliar with how to conduct myself in a theatre.


Now, it's not as if I’ve never been to the theatre before. During my primary school years I remember visiting the Baxter for Rumpelstiltskin and Joseph’s Technicolor Dreamcoat. Between then and now, I have also had the pleasure of performing on the Baxter stage as part of a youth peer counselling group. Despite this, I still felt out of place.


So, when Uys made his way onto stage, I wasn’t sure if I should clap to welcome him in. Or, as I would at a concert or nightclub, scream his name as some form of motivation.


I felt awkward. Even more so because I really wanted some of my slangetjies but the crunching of the plastic packet had already annoyed the man seated next to me.




But then, just a few moments later, Uys did what he has been doing for over 40 years — he broke down barriers.


There I was, one of about five millennials in the audience, yet, Uys spoke straight to me.


Giving us an incredible look into the world of Pieter Dirk-Uys, I found myself relating to so many aspects of this man’s life, this great South African’s journey to now.


Me, a 25-year-old from Grassy Park, connecting with a 71-year-old white Afrikaner from Pinelands. It was both amazing and surreal.


Sitting next to my own father, Uys regaled us with stories of his “Pa”, Hannes Uys. Oom Hannes who always had the answer. And if he didn’t, he’d make it up and they would, as his children, believe him anyway.


Watching Uys relive his youthful infatuation with Sophia Loren reminded me of my own, very many, crushes with celebrities. Uys’ stories reminded me of one in particular, when I had an asthma attack in Woolworths after Danny K kissed me on my cheek and told me “Girls rule” (a reference to my very ill-fitting t-shirt).


Seeing my father — who grew up in Woodstock — nod along with his peers of different races and classes to Uys’ memories of Connie Mulder and Springbok Radio’s “The Creaking Door” reminded me that despite our very real differences as South Africans, there are so many equally, genuine similarities in our stories.


I found myself nodding, agreeing with Uys about the importance of familiarising ourselves with the rule of law — as he had done with his “PR company” the Censor Board — to ensure that no third-rate politician could fool us with their distortion of the law.


That’s what I took away from “The Echo of a Noise” — a feeling of solidarity. That, and a night filled with laughter — and some tears.


And that’s Pieter-Dirk Uys. That’s always been Pieter-Dirk Uys. An artist who has, through the decades, united a very divided South Africa through laughter and, later, introspection.


Certainly, a must-see for anyone interested in South Africa, satire, and a good night out.


*“The Echo of a Noise” is on at the Baxter Golden Arrow Studio Theatre until 17 December, running nightly from Tuesday to Saturday at 8:15pm with matinees on Saturdays at 5:15pm. The show on 16 December is at 5:30pm. Tickets available from Computicket or 086 191 58000.




Pieter-Dirk Uys Memoir THE ECHO OF A NOISE Returns by Popular Demand for Baxter Theatre Run

Broadway World, 17 November 2016


After a sell-out season earlier this year, Pieter-Dirk Uys returns with his acclaimed memoir THE ECHO OF A NOISE, this time to the Baxter Theatre, from 29 November 2016.


Having performed alone on the stages of the world for well over seven thousand times, Uys has learnt that every show is the first and the last performance — because each audience demands and gets a different energy, topicality and excitement. Now in his 71st year, he does not glance back at the successes and failures that have strengthened his belief in a constant improvement of his work, but at those small signposts that throughout his life subconsciously have pointed him in a right and original direction — his father Hannes Uys, his mother Helga Bassel, his grandmothers, his teachers, his passions; Sophia Loren, censorship, false eyelashes and making a noise when everyone demanded silence.


South Africa's foremost satirist sits on a barstool, wearing his black beanie on his head and his Almost Famous sweatshirt, and with his impish smile, he even looks like a naughty goblin trapped by the spotlight. Within minutes he fills the auditorium with his presence. This is just Pieter-Dirk Uys speaking and he opens his heart and talks about his private and public life. The big hair and silky repartee of Evita Bezuidenhout or the smoky drone of the sexy Bambi Kellermann have been stored elsewhere for some other time. It soon becomes clear that the title of his autobiographical one-man memoir, The Echo of a Noise, doesn't really do justice to what he presents here. He leads you into his inner sanctuary, takes you through our history and shows where what is public and private meet.


Uys was and still is a voice in the wilderness, ever since he first appeared fearlessly on a stage in the 1970s. He jokes that the all-powerful censor board was his own personal public relations department. And how brilliantly they banned his work: even to the extent of declaring a word Uys invented as obscene, a word that they couldn't find in any dictionary. We hear the recording of the voice of little Pietertjie Uys singing like an angel and accompanied on the piano by his father, Hannes Uys, whom he would accompany on Sundays to the church where Hannes was organist — the father whom he loved, but didn't like very much; the sternest critic of his work and yet the one who could also give good advice. He tells of his father's last moments, being with him as he died and then going back to the family home where Sannie, the housekeeper and his 'Cape Flats mother', asked if there wasn't any washing from 'Pa'. The audience is spellbound as he shares the suicide of his German mother, Helga, as well as the influences on him of his Afrikaans and German grandmothers.


It's as if Uys constantly takes his audience into his confidence and so breaks all the rules and crosses boundaries. He remains a master storyteller who can make as much fun of himself as he does with the others who get a lashing from his sharp tongue.


THE ECHO OF A NOISE is at the Baxter Golden Arrow Studio Theatre from 29 November to 17 December 2016. Shows run nightly from Tuesday to Saturday at 20:15 with matinees on Saturdays at 17:15. The show on 16 December is at 17:30. Tickets cost R130 to R150 via Computicket or 08619158000.




Uys is a smash hit!


– Verne Rowin Munsamy. ArtSMart, 3 July 2016


What is it about Pieter Dirk Uys that has audiences running to the theatre?  It’s his witty charm, elegant stage presence and sophisticated ability to simply tell a captivating story.


The Victoria Theatre in Grahamstown, once again played host to one of South Africa’s greatest theatre exports, Pieter Dirk Uys who at 70 has performed over 7,000 solo performances in his career and returns with his theatre marvel, The Echo of a Noise.


I remember meeting him in this very same venue, many moons ago, after the premier of Auditioning Angels, where he writes about the rescue of HIVAIDS infected orphan babies in a hospital,and was humbled by his kind spirit and his writing which pleaded to a generation for action, or as he so perfectly puts it, point fingers at the system’s flaws.


In this memoir, The Echo of a Noise, he transports the audience to his childhood at number 10 Homestead  Way, Pinelands, Cape Town. He jokingly wears all black (a colour usually worn by the stage hand) with the words ‘almost famous’ printed on it. A spotlight and a bar chair are all that is needed on stage as he boastfully fills the space and our hearts with tales of his youth; his conflicted relationship with his father (their political disparities and his love and admiration for him), his love for and pen-pal relationship with Sophia Loren (which helped him through the suicide of his bipolar mother), his extraordinary relationship with Sunny (the live-in domestic worker and daytime ‘boss’), the sounds of the trains passing, the revelation that his mother escaped the persecution of Jewish people by Hitler (and that he himself was half-Jewish), his rebellious nature which hid a portable radio in his bed to listen to his favourite radio dramas, the touchy ‘uncle Andre’,and the political undercurrent of the time.


All of which shaped and manifested this ‘noise’ that he became against an unjust apartheid government.


He jests that the best advice given to him by his dad was not to point and poke with his finger, referring to his swearing against the apartheid system, but rather to use that same finger to tickle behind the ear and then wait for the head to turn and poke their own eye.


If you are familiar with his plays like Adapt or Dye, Beyond the Rubicon and Total Onslaught, you will realise that these sentiments ring true in all of his writing.The second piece of advice that he shares is that we must fill our drawers (something he mentions all the way through) with important documents and memories, and make your lists (of things to achieve). And like the melodic, soothing symphonies of Bach, this gentle (theatre) giant is able to unearth the compassion and passion in the audience to extraordinary effect.


Although best known for his interrogation, through his numerous characters and plays, of an unjust system, we are not left disappointed by his interrogation of his own, personal politics, as seen in The Echo of a Noise. A well deserved standing ovation.




'The Echo of a Noise' unique

– Steyn Du Toit, Cape Times, 8 June 2016


WHAT remains after everything’’s been said and done? When all the wigs and characters have been packed away, who is the individual left standing alone in the spotlight?


These are some of the questions grappled with when the curtain slides away to reveal Pieter-Dirk Uys at the start of his new solo production, The Echo of a Noise.


Arriving in Cape Town following its debut during last year’s National Arts Festival (NAF) in Grahamstown, the piece marks both the Evita Bezuidenhout collaborator’s 70th birthday, as well as his fifth decade of entertaining, educating and inspiring global audiences.


There are, however, no high heels or glitzy gowns this time around.


In fact, the Divine Mrs E — nor the rest of the pantheon of motley characters Uys has created over the years — do not even make an appearance. Apart from the ghost of PW Botha’s ever-wagging finger that is...


Instead, the viewer is granted a unique opportunity to plug into the stream of consciousness about to flow from this formidable raconteur’s mouth. And what a profound 90-minute journey it turns out to be!


While the production is described as a one-man memoir, don’t expect a chronological relating of key events from Uys’ life and career, nor a tell-all in which juicy industry secrets and romps are revealed (hopefully the latter will follow later).


Presented largely, instead, as a collection of vignettes drawn from his childhood and early career, the result is a touching and intensely personal meditation wrapped in a bright, light-hearted package.


Flavoured with the kind of vivid anecdotes and seemingly effortless quips audiences have come to love about him over the years, by the end of The Echo of a Noise one leaves with rare and privileged insight into Uys’ past.


He is both the echo of the “noise” originally created by his forefathers, grandparents and parents, as well as the one who made the actual noise with his activism and rule-breaking antics during South Africa’s darkest hour.


From growing up in Pinelands to hearing Mozart for the first time to falling in love with Sophia Loren, along the way he also introduces us to those individuals who’ve had a profound impact on the trajectory of his life and early career.


More than anyone else, however, it is/was his relationship with his parents — Hannes Uys and Helga Bassel — that features most prominently and most often. Not only is it something that we can all relate to, but one suspects it is the thing most of us will spend the rest of our lives trying to make sense of.


While the unconditional love he has for Helga and “Oom Hannes”, to this day it is never brought into question, it is the revelation of those related elements that were difficult and/ or tragic to deal with that makes this production cut so much deeper than a mere evening’s worth of entertainment.


These include Uys’ mother’s suicide, his fraught relationship with his father, growing up under a traditional NG church suburban bubble, as well as becoming the poster child for those in charge of censorship during apartheid.


Not only are these details frankly and bravely shared with the viewer, but they will arrive as a beacon of relatability to those who might also still be trying to shake the Calvinistic ‘babalas’ from their system.


Compelling, fighting fit at 70 and with the phrase “Almost Famous” ironically printed on his hoodie, at the end of The Echo of a Noise Uys appears more determined and in charge of his craft than ever before.


“Check your lipstick before you come and talk to me,” Naomi Campbell once barked at an out-of-line aspiring model in a YouTube clip that’s well worth looking up.


For the first time pulling out some rouge (red) from his pocket before defiantly applying it to his lips during the production’s last few seconds, let that be a warning to all of us as he takes on the next 70.


THE ECHO OF A NOISE. Written and performed by Pieter-Dirk Uys. At Theatre on the Bay, Camps Bay from Tuesday to Saturday until June 18 at 8pm.




Scene It: A beautiful echo of nostalgia

– Barbara Loots, Theatre Scene Cape Town, 7 June 2016


In The Echo of a Noise, Pieter-Dirk Uys entices the audience by doing the inverse to what we are accustomed to… he dresses down… actually more than down. When the curtain goes up, it is just him, looking you straight in the eyes without even a smidgen of lipstick or the hint of a wig.


The Echo of a Noise is not his normal satirical show, it is a soul-baring honest memoir brought to stage by the one who can tell the story best… the one you lived the tale.


The show takes you on the life journey of little Pietertjie Uys, who shares all his trials, tribulations and triumphs — as he grows into the legendary stage personality that today is Pieter-Dirk Uys — as if you are the closest of friends, until finally revealed sits the legend we all adore today.


Upon reflection of the story that unfolds you realise that The Echo of a Noise is not really just the story of Pieter(tjie), but rather the story of “Pa and Bokkie”, as it becomes clear that Pieter-Dirk Uys was greatly influenced by his father, whom he always loved but maybe not always liked. The one's search for identity and acceptance intrinsically linked to the other.


Through his honest telling you are captured by the heart and soul that is Pieter-Dirk Uys. A man who through his experiences, graduated from the University of Imagination, got a masters from the University of Courage and now has a Doctorate from the University of Life.


Sitting in conversation with him in this “show” (I use this word very loosely because it is so much more than a mere production), time feels like it is standing still, as you hang onto every word of this skilled story teller. You sit in amazement as he reveals how his fascination with Sophia Loren developed into the most unique perhaps even lifesaving friendship, how he battled the ignorance of Publications Board with self-created “swear” words, realised he could be more of a true activist, and how a need to feed his beloved thinning cat resulted in him creating his first show ‘Adapt or Die’ with PW Botha as social commentary character inspiration.


Ultimately theatre friend Charmaine van der Merwe sums up the feeling behind The Echo of a Noise best:


"Absolutely brilliant — I am nostalgic about someone else's life! It was simply beautiful. The right amount of everything. A must must see!"


Don't miss the opportunity to see the truly inspirational and unpowdered Pieter-Dirk Uys onstage at Theatre on the Bay in the brilliant The Echo of a Noise before run ends 18 June 2016. You will never look at trains and little towns like Darling the same again. Book your tickets at Computicket.




Teaterresensie: The Echo of a Noise deur Pieter-Dirk Uys

– Maryke Roberts, Litnet, 3 Junie 2016


The Echo of a Noise

Pieter-Dirk Uys

Theatre on the Bay

31 Mei tot 18 Junie, Dinsdae tot Saterdae om 20:00.

Kaartjies by Computicket en die teaterkaartjiekantoor, 021 438 3301


Geen resensie kan reg laat geskied of waarlik hulde bring aan The Echo of a Noise, die jongste eenmanvertoning van Pieter-Dirk Uys nie.


Jy kan nie een van ons grootste akteurs, stemme, satiriste, teksskrywers, kampvegters en HIV-opvoeders enigiets leer van teater as hy al meer as 7 000 maal alleen op verhoë reg oor die wêreld opgetree het nie.


Die vertoning is Pieter-Dirk Uys op ’n stoeltjie op ’n reuse donker verhoog, ’n straal lig wat hom omvou. Vir 90 minute stap jy saam deur sy lewe: die vrese en vreugdes van ’n jong seun wat in die 40’s en 50’s in Pinelands grootword. Sy pa, Hannes, vir wie hy bang is, sy ma, Helga Bassel -– sy vertroueling en veilige vesting met haar herinneringe van ’n Berlyn voor dit vertroebel is deur politiek — sy suster Tessa en sy “Kaapse Vlakte-ma”, Sannie.


Hy vertel van die optredes in die Kaapse stadsaal, uitstappies na die see, laggende toeriste op die stoomtrein, hy wat sing terwyl sy pa hom begelei op troues en ander sosiale geleenthede, sy liefde vir Sophia Loren, sy ma se selfdood. Hy raak somber as hy in die gehoor in staar en sê: “Jy herstel nooit daarvan nie.”


Hy is gestroop, eerlik, oordenkend, openhartig en vreesloos, maar o, so weerloos op daardie verhoog.


Gestroop van enige masker soos lipstiffie, ’n pruik, ’n rok of hoëhakskoene waarmee hy agter Tannie Evita of Bambi Kellerman se rokspante kan skuil nie. Geen swart hoedjie of kaftan van PW Botha of Desmond Tutu om die fokus van hom weg te lei nie.


Met sy gebreide swart hoedjie en hemp met Almost Famous bedruk, lyk hy meer soos ’n ou visser wat mymerend oor sy 70 lewensjare terugkyk.


Hierdie stuk is meer as ’n nostalgiese lewensreis saam met ’n bekroonde akteur. Dis ’n raar kykie in die siel van iemand wie se lewe regtig aan die kunste gewy is. Iemand wat nie gestuit het voor die destydse sensuurraad of kritiek of vervolging van die apartheidsregering nie. Iemand wat nie omgee om jou in die diepste skuiling van sy hart te neem nie. Hy dryf met homself die spot, net so maklik soos hy dit met ander doen.


En voor jy jou kon kry biggel ’n traan oor jou wang as hy van sy pa se siekte praat, herleef jy weer ’n geliefde se siekte en sterfte. Voel jy ook weerloos en oopgevlek, al sit jy in die donker gehoor.


Hy is ’n meesterlike storieverteller, sonder arrogansie of selfbeheptheid. En eendag as hy nie meer daar is nie, gaan mense waarlik besef watter diep spore hy nou eintlik getrap het, sonder dat ons regtig aandag gegee het.




Teater:  Fokus op familiegeskiedenis

In sy 70ste lewensjaar wil hy nou sy storie vertel, het die satirikus Pieter-Dirk Uys aan die vooraand van sy solovertoning The Echo of a Noise aan Amanda Botha gesê.

– Amanda Botha, Die Burger, 31 Mei 2016


“Skielik het ek besef ek weet meer van Sophia Loren se lewe as wat ek weet van my ouers en my familie se stories. Nou wil ek mý storie vertel,” sê Pieter-Dirk Uys.


Met sy 7 000ste solovertoning, The Echo of a Noise, wat vanaand geopen word, wil hy dit nou in sy 70ste lewensjaar ’n slag anders doen. Hierdie keer staan tannie Evita en die stoute Bambi Kellerman opsy vir Pieter-Dirk Uys unplugged, intiem.


“Nou’s ek by pa Hannes en ma Helga en loop ek terug na my kinderjare. Dis tye van lag, huil en musiek. Dis oor my en my mense,” sê hy.


Ons gesels in sy interessante en gesellige huis op Darling, waar drie honde en twee katte regeer — ’n ruimte waarin hy tuisgekom het en kreatief elke dag kan werk. By ons op die tafel is ’n klompie foto’s waarna ons nou en dan kyk om iets van hierdie tyd te beleef.


“Ek was baie lief vir my pa, maar het nie veel van hom gehou nie. En noudat ek ouer word, lyk ek ál meer na hom. Hy was my strengste kritikus, maar ook iemand wat goeie advies kon uitdeel.” Hy onthou dat hy as Pietertjie deur sy pa op klavier begelei is “om soos ’n engeltjie met ’n soet sopraanstemmetjie die hoë nootjies raak te vat”. Dis wat hy met sy gehoor wil deel as hy ’n ou opname daarvan voorspeel.


In die 1970’s, toe hy die toneelwêreld betree het as “iemand sonder talent”, soos ’n dosent hom as student afgemaak het, het hy met sy werk by Die Ruimte-teater ongekarteerde weë vreesloos verken. Hy moes fyn trap rondom die destydse Publikasieraad, en ná die derde verbod op sy werk, soek hy raad by sy pa. Dié se oorwoë mening was: “Maak hulle belaglik!”


’n Paar weke later lees Uys dat daar ’n vakature in die Publikasieraad was en hy oortuig sy pa om aansoek te doen. Pa Hannes word sensor en nou het sy seun ’n verteenwoordiger in die binnekring.


’n Nostalgie omvou hom wanneer hy vertel hoe sy pa ná ’n vertoning vir hom ’n wenk gegee het. “Bokkie, oppas vir die vinger in my gesig wat my oë op skrefies vou. Kielie agter jou oor en my oë sal jou oë vind.” Elke keer wanneer hy op die verhoog is, onthou hy dit.


“Ek kan nooit vergeet hoe ek by my pa se sterfbed in die Groote Schuur-hospitaal gestaan het nie. Ek het gekyk hoe hulle hom deur ’n deur stoot en ek het gevoel dat hy nou met ander verenig word wat reeds op hom wag. Ek is na ons huis in Pinelands waar Sannie [Abader], my Cape Flats-ma, kom vra of ek enige wasgoed van my pa gebring het.”


Uys is ’n oomblik stil, asof hy iets soos ’n eerbetoon aanvoel. “By die huis het ek onthou van my pa se laaste brief aan my. Toe ek dit oopmaak, is daar ’n lys van 25 dinge wat my te doen staan om sy aardse lewe af te sluit.” Van sy ma, die konsertpianis Helga Bassel, onthou hy veral een “baie mooi ding. Ek en Tessa [sy suster] het aan elke eisteddfod deelgeneem. Vir my pa was dit dat ons moes wen. My ma het altyd gesê dat as ons wen, kry ons elk ’n roomys, maar as ons verloor, kry ons elk twee roomyse.” Steeds dink hy elke dag oor die “verstommende stukkie lewensfilosofie”.


By hom woed ook die hartseer van sy ma se selfdood. “Die oggend praat ek nog met my ma en die middag hoor ek hoe sy met haar motor oor ’n krans by Chapmanspiek gery het. Ek het haar laaste brief wat toe by haar gevind is.”


Terwyl ons na ’n pragtige foto van sy ouers kyk, gelukkig saam op die strand, sê hy: “Al is dit meer as 40 jaar gelede, ’n mens kom nooit daaroor nie.”


Daar is ook sy Afrikaanse en Duitse oumas — sterk mense wat ’n beslissende invloed op sy lewe was. “Ek vertel van almal, so ’n chorus line van geliefdes.”


Wanneer hy ná meer as 7 000 opvoerings oral in die wêreld nóg ’n keer op die verhoog staan, onthou hy steeds wat sy suster hom vertel het van die konsertpianis Arthur Rubinstein. “Hy het gespeel vir die een waarvoor hy lief is, want die een wat langs die geliefde gesit het, was dalk ’n vyand wat só oorgehaal kon word.”


Sy storie kan nie sonder Loren vertel word nie. Hy het as tienjarige aan haar geskryf — “ ’n briefie uit Pinelands” — en reeds 60 jaar is hulle in kontak en goeie vriende. “Ek het in ’n tyd geleef toe Verwoerd as ’n gawe van God gesien is. Met haar Italiaanse wêreld en vrae het sy my gered.”


•   The Echo of a Noise se speelvak duur tot 18 Junie in die Theatre on the Bay in Kampsbaai. Dit word op 1 en 2 Julie op die Nasionale Kunstefees op Grahamstad opgevoer.




Remembering the ‘Echo of a Noise’

– Tracey Saunders, Cape Times, 29 May 2016


VISITING Pieter-Dirk Uys at Evita se Peron, surrounded by cats and concrete reminders of the past in his fossil park, there is no doubt as to who the queen of the establishment in Darling is. He has installed signs which await the arrival of Queen Victoria’s statue, but until then he reigns supreme over this quirky patch of paradise on the West Coast. Listening to him reminisce about his youth and the early roots of his love of the theatre, the sparkle that has captured audiences young and old over the years is evident and his exuberance and sense of enthusiasm are contagious.


About 18 months ago the actor and writer decided to take some time off “to re-invent” as he describes it.


It also marked his 70th birthday, not a momentous event for him, “It meant nothing, except as a speed limit,” he laughs but he admits as “I have opened the windows in my mind, other things have come in.” Despite his optimistic nature politics was beginning to weary even him. “There’s a light at the end of the tunnel which you can’t see immediately because the tunnel is curved,” he chuckles.


His ability to find the thread of humour however tenuous in any situation is one of the attributes which draws people to him and makes his political observations so astute and his impersonations so accurate. He has cast aside the characters and stepped out of the political milieu as he has ventured in to new, far more personal terrain in his latest production The Echo of a Noise (Pieter-Dirk Uys unpowered at last!) a phrase that struck him two years ago and led him to wonder what exactly he was echoing. “Am I the echo of a noise that has happened, or am I the echo of a noise reinventing itself for the future? Am I the echo of the noise with which I grew up meaning music, and arguments and a father?”


Perhaps that echo is the reverberating questions that remain with you once you have engaged with Uys. Ultimately the testament of a great artist is not one that provides answers but one that leaves you with questions, both of your self and the world around you. It is the questions and echoes of his youth and formative experiences that he expands upon in this staged autobiography of sorts.


“The main people in the chorus line are ma and pa,” he says before changing his mind and saying, “Actually they are the leads and I am the chorus.”


He acknowledges that there were several signposts which changed his life, not the least of which was the death of his mother. “My mother committing suicide, let’s not even think that was a small signpost. That was the end of a life, mine as well.” His voice is laden with emotion as he remembers, “She was an angel, always there and adding a sense of balance to everything.”


While both of his parents were exceptionally musically talented their attitudes differed enormously. Pieter and his sister Tessa competed in the annual eisteddfods, both English and Afrikaans. Their father encouraged their competitive nature while their mother urged them to enjoy themselves. “If you win you can have an ice cream. If you don’t win, you can have two,” she would say.


Along with memories of her laughing alongside him in church earning the admonishment of the dominee, “Mevrou Uys, u kinders lag in die kerk,” it is clear that she is never far from his thoughts. The profound influence that his father had on his life is evident in the animated way in which he recalls moments him with so vividly: visits backstage to the Eoan group after hearing them perform La Traviata at the City Hall, his advice to him not to be obvious and to explore subtlety in his texts and his encouragement to never lose hope.


“He had a laugh that used to rattle the windows,” Uys remembers and says that his father, “knew everything and what he didn’t know he made up. The truth is interesting but not always entertaining.” Oom Hannes as he was fondly known retired from his position as a clerk in the Provincial Administration at the age of 50 to start a music department at Groote Schuur Hoerskool. His father’s love of music began at an early age and he played the organ from 12, even when his feet never reached the pedals. It is no surprise then that music has been an integral part of Uys’s life.


“Mozart was my best friend. I couldn’t believe that he was dead, his music sounded so alive,” he admits.


It is this musical instinct which I think leads to the innate rhythm and unique cadence of his scripts, a striking feature of Echo of a Noise when it premièred in a packed Guy Butler auditorium at the National Arts Festival in Grahamstown in 2015.


Pieter admits to having disguised himself throughout his life once he “had discovered his alphabet” and his unpowdered, unadorned presence in a simple black t-shirt has come at a time when I believe audiences are keen to see him “unplugged.”


As he recounts stories of watching concerts at the City Hall alongside his sister Tessa, her holding a kitten and him clutching a white rat both acquired from the pet shop across the road, I catch a glimpse of that Pieter, the young boy who worked as an usher at the theatre and courted love in contravention of several apartheid era laws. A boy who was loved and a young man who dreamt and who continues to have hope and is unafraid to share his vision of hope. This is the Pieter-
Dirk Uys you will see on the stage at the Theatre on the Bay in June.


Towards the end of his father’s life, Uys grew anxious lest he forget some of his father’s stories and he asked him if he could record them. His father declined with the response “If you want to keep them, remember them.” He laments, “I didn’t remember enough” and encourages people to listen to their parents and grandparents. In an age where we have so many available communication channels and opportunities to voice our opinions it has become even more important to listen.


Perhaps then we can also be attuned to the echoes of our own histories. In the interim I don’t mind being privy to the echo of any noises uttered by the man who we know so well as a writer, activist, actor, entertainer and now eventually as a human being and a son.




Pieter takes on new role — himself

– Gasant Abarder, Cape Argus, 27 May 2016


"You want an interview with Evita Bezuidenhout? You can! This is one woman I’m very glad I didn’t have to meet face-to-face.”


Pieter-Dirk Uys is sharp to my playful ice-breaker question of arranging an interview with Tannie Evita (watch this space!).


I can’t help feeling guilty because soon Pieter will take on his first stage show, at the age of 70, as himself.


But inevitably, we talk about the darling from Darling. Evita is a role he’s played for more than three decades. Has his alter ego become blurred with his true self?


“I do know her well because she has been with me for over 30 years. One has to build up a history and build up opinions, purely because people kept on asking me the questions like ‘what is her surname?’ She didn’t have a surname. A journalist from an Afrikaans Sunday newspaper asked me in 1982, when Evita had just appeared in Adapt or Dye at the Market Theatre.


“He asked what’s the surname and there was a poster on the wall behind him which read ‘The Seagull – Aletta Bezuidenhout’.


“Her whole history has just been an answer to people’s questions. It had to be entertaining.


“Now she’s a member of the ANC, which is the only logical place for Evita to be because that is power. Opposition is about complaining.


“She is cooking for reconciliation. I have some wonderful SMSes and e-mails from my friends in Luthuli House saying, ‘We saw her in the passage.’ Just because she doesn’t exist doesn’t mean she’s not real!


“She must never be me, then it’s not real. I’m a multi-phrenic, not a schizophrenic… I have all sorts of compartments where emotions can be channelled for characters.


“The only thing I have a problem with is PW Botha because without my hair I look just like PW Botha.


“But I want the women to recognise the woman and the men to respect the man. In fact, Nelson Mandela treated her like a lady. He used to say: ‘Ah, Evita. You look so beautiful.’ Then he’d hug her and whisper in my ear.


“I said to him, after many experiences with him and Evita: ‘President Mandela, every time you see me I’m dressed as a Evita.’


“He said: ‘Don’t worry, Pieter, I know you’re inside’.”


Pieter’s brand of satire has always cut close to the bone and been politically on point. But it’s never about offending to such an extent that it polarises. There are areas he deliberately avoids —- racism and religion, for example.


It’s a minefield that Pieter has very skilfully negotiated over his career and something that has become all the more onerous with the advent of social media.


“I have a definition: 49 percent anger, 51 percent entertainment. The other way around doesn’t work. Then it’s a Penny Sparrow story. The red line of racism is very, very sharp on the ground. That’s the discipline. You don’t cross that for an easy laugh.


“But the fact that people are reacting with such passion shows that satire works. That’s the whole point of it. People say you mustn’t offend. I want to offend… everybody… but not all of the time.


“But racism and sexism and all the -isms are a tremendous minefield that we have to be very careful not to get swallowed up in.


“Social media has become the enema of society — een spuit en die poephol is vol! When you look at all these issues, it is an enormous challenge.


“We have extraordinary freedom of expression, freedom of speech. In its different disguises sometimes you think, please can we not have freedom of expression —- Mr Theunissen, for example.” (That’s Matthew Theunissen, the man who took to Facebook to use the K-word, castigating the government after Fikile Mbalula’s banning of various sports codes from hosting international events.)


But for his next project, and in an almost biopic kind of way, Pieter is delving into very personal terrain. Gone are the masks of Tannie Evita and the other characters he has used as a security blanket over the years.


His new show The Echo of a Noise (Pieter-Dirk Uys unpowdered — at last!) starts at the Theatre on the Bay from May 31.


It’s a stark scene on stage with the spotlight on Pieter sitting on a barstool, wearing his famous black beanie and his “Almost Famous” sweatshirt, opening up about his public and, until now, very private life.


“I am so pleased that I am still alive and sharp enough to balance stories into a 90-minute experience that I can share with people.


“People don’t know… I’ve been very, very private because I’m not the issue here. But you reach a certain time when the audition is over and the disease to please has been cured.”


So we get personal and Pieter starts speaking about his Pa, Hannes Uys, with whom he had a difficult relationship .


It resonates because on the day of this interview my own father, Achmat Abarder, celebrated his 73rd birthday.


My dad, until retiring very recently, was the ultimate provider. Growing up in Mitchells Plain we never wanted for anything, and he and my mom Aleweya created opportunities for my siblings and me to make something of our lives.


My dad, in particular, was so busy being the provider and creating opportunities for us that we seldom connected as father and son.


Even now when I call home and he’ll pick up, he hands over the phone with a “Here’s mom” after exchanging a few pleasantries.


I observe him now connecting with my children and see the father I never connected with on an emotional level. The father that I, despite my crazy life as a journo, want to be.


For Pieter, the father and son relationship was fraught because his choices didn’t meet his dad’s expectations.


“I’ve always been behind something because in the beginning I was poep scared of having anything to say. This is the first time I’m actually without the security blankets.


“It’s the story about me growing up in this country with extraordinary people around me —- my ma, my pa and music, because they were both musicians. This celebration of survival is the story about pa. I never thought I’d write about my pa. We never got on until years later when he suddenly realised I was actually making money doing what I was doing.


“What I noticed with the show, because I do some performances at the Perron as a way of trying out new material, is how many people are sharing with me memories of their parents, memories of tensions with the father.


“My mother committed suicide, so that’s something that doesn’t go away, no matter how much you think time heals. And then up against this government of ooms because my father’s cousin was the first National Party Prime Minister, Dr Malan, so I had family in that laager.


“And so having the family saying: ‘What are you doing here?’ Being gay — also illegal so you’re a criminal because you’re breaking the Immorality Act.


“And finding out apartheid was wrong… and getting to know people that were living on the other side of the moon and they were just down the road.


“The theatre of course did a lot because when you study drama you study humanity through the ages. If you fight it with anger, you get stopped.”


Pieter identifies with my relationship with my dad. Of course, my dad and I don’t have to express our love and respect for each other verbally to know. But these days the emotionally attentive father figure is a much-needed and rare commodity.


Pieter plays the father figure role in a somewhat different way with his activism in the area of HIV/Aids promoting active citizenry and working against voter apathy.


But his latest work may be his most important yet. It’s a vehicle for opening up dialogues on relationships we never had between father and son, as families, as a nation. “Do you have a chance to sit down with your kids as parents and speak to them? I didn’t. There were so many things I wanted to know that I didn’t ask. I was so scared.


“My mother was Jewish. We didn’t know until she died. She came from Berlin and the Nazis chucked her out. But we never, never talked about those things.


“I think it was a generational thing. I think it’s different now. But it’s great to remember and also to remind, especially the kids growing up. I’m finding families are coming to the show. It’s about stories.


“My pa always said, ‘die vloek woorde. Sies! Dis onnodig.


“He once said to me he comes to the show and I use these swear words and it’s like I stick a finger in his eye. He’s so angry he can’t even see.


“ ‘Why don’t you use that finger to tickle me behind my ear and when I’m having a nice time and when I want to see what is giving me the nice time I turn my head around and my eye will find your finger. Don’t be obvious, find different ways’. That is great advice. It is obviously a big signpost: the death of a parent. That tiny little thing, that little comment, changes your life.”


Pieter doesn’t give himself enough credit. He is effortlessly and naturally funny.


Comedy has always been an important antidote for our most immense challenges as a nation, and Pieter has been constant in our discourse — disarming even the most stoic personalities and ideas with charm.


He is also an optimist about our country and where we’re headed.


“During apartheid everyone understood, even a 6-year-old wore a ‘Free Mandela’ T-shirt. There was no redeeming feature.


“Then I had to speak on behalf of millions of people who didn’t have a voice. Now it’s only my voice, my opinion in this democracy.


“In this country you have the right to disagree, I have to make you laugh at your fear, and when you laugh at your fear you can’t be that frightened of it.


“It can still kill you, but you’ve looked it in the face.


“I must be honest with you, I never thought we whites would get away with apartheid. I thought the hell was going to break loose because there was no apology for what we were doing.


“We, me — I keep on saying I’m as responsible. When I went overseas people said, ja maar… but where’s the cultural boycott? Why am I allowed here? They’d say but you’re different. I’m not different. I’m a white Afrikaner, what makes me different?


“One has to take responsibility for the guilt, but the guilt can also be very creative to make sure it doesn’t happen again.”


“I have to sometimes pull back from the political because one has to. Remember, for every piece of bad news there are two pieces of good news. But they’re not easily found because they’re busy working. Optimism is very important for me.


“But I think we’re in a pretty healthy state as a democracy. After 22 years of coming out of something so terrifying and it will never be perfect. But the biggest problem for me, where we are now, is that we, the citizens, are not doing our homework.


“There is just too many of my generation who are now CEOs or retired and who should be giving thought in leadership and discussion who don’t want to know. That’s why the entertainment industry is important for me to seduce people to come — knowing that I will deliver, but I’ll also give them something to take home with them.


“Something that will make them say ‘Hey, I never thought of that’.”




Master storyteller, Pieter-Dirk Uys, picks up his own tale

– Debbie Hathaway, Financial Mail, 26 May 2016


FOR the first time in over four decades of show business, Pieter-Dirk Uys is shedding the grease paint, false nails, big hair and high heels that have helped mould his career as SA’s foremost satirist, to get a little (or a lot) more personal in his autobiographical one-man memoir, The Echo of a Noise.


“In 40 years of performance, I’ve never done something like this,” says Uys. “I’ve always written shows with characters and had various masks to wear and security blankets to hide behind, but this time it’s just me and you.”


He began to conceptualise the production once he had the name. “I always start with the title,” says Uys, “and I thought: what does it mean? Have I become the echo of a noise of the past? Or am I the echo of a noise reinventing itself for the future? Or is it the noise of my life — the music I grew up with because both my parents were concert pianists and Mozart was my best friend? Or was it the noise from arguments I had with my father? Or was it the noise of the National Party government saying ‘shut up, you may not do this’ and me saying ‘I will, I will, I will’?”At once candid and intimate, Uys shares his memories as only a master storyteller can — with passion, humour, intelligence and great sensitivity — while he reflects on his life, growing up in SA; his parents; his “coloured mother” from Athlone (near Cape Town) who looked after him for years and taught him to “speak Afrikaans properly with all the swear words — and changed so much of my life“; breaking down the barriers of “separate development” with humour; being “half Jewish, half German, half Afrikaans”.


Uys describes his father as a great jazz pianist and organist, an extrovert — Oom Hannes, whom everybody loved, but “Pa was the one I fought with”. “We didn’t love each other; we didn’t even like each other. But when my mother killed herself (she jumped off Chapman’s Peak), it ended our lives. We had to start again, a different relationship, without her.”


The family home was full of music. (Uys’s parents met as concert pianists performing a Mozart double concerto at Cape Town City Hall.) “We had no TV but there were always visitors, conversation and lots of laughter — not because things were funny but because people were in charge of their fear. We were always allowed to be there as long as we weren’t bored, having been told ‘if you’ve got something to say, make sure it’s interesting’.”


Uys arguably has a nose for fear and he takes inspiration from that. “If people are scared of an opinion, let’s explore the opinion. If it offends people I’m glad. I want to offend everybody, at least once, because it means I’ve rattled your cage. I don’t want to insult anybody or demean them, or use all the ’isms.” This is the man who wrote a character into his Sunday Express newspaper column to challenge the status quo in the late 1970s and gave her life in 1982 as Tannie Evita Bezuidenhout, the most famous white woman in SA.


Uys describes himself simply as an entertainer, someone who has to take audiences out of their world and make them recognise things they don’t want to remember, using humour to highlight things that are weird and obscene. He says his father’s cousin was DF Malan, the first National Party prime minister in 1948 — “half the family was in the other camp, so humour was a weapon of mass destruction and distraction”.


“I try not to take sides – it’s about equal opportunity satire, a delicate balance, a constant reinvention. And I take nothing for granted; what was acceptable yesterday might not be acceptable today. That is the bottom line.”


Uys lives in Darling, where his own Evita se Perron venue celebrates its 20th anniversary this year, because he loves the fact that there’s so much fresh air. “I love the people, the community, the children; it’s like a huge family. The cities are just so big and the statistics are so terrifying. At least in Darling there are no statistics and everybody has a name. And it’s just an hour from the airport, which means it’s an hour away from New York.”


Tannie Evita takes centre stage for two or three shows a weekend (90 a year) when Uys has no other theatre commitments, but fans can bank on at least a Sunday afternoon performance or catch her reality show on YouTube. “It’s very much showing off in the lounge — I walk down from my house and do the shows without the paraphernalia of a commercial theatre,” says Uys.


Evita is never seen without heels, except on July 18 when she walks with the local children to the animal shelter to devote 67 minutes to the pets in their care for Mandela Day. “If Evita doesn’t look right, she’s wrong. And I’ve been known to diet for her. I’m 80kg now, and she’s gorgeous at 80kg!” says Uys. “Women must recognise the woman and men must forget the man. That’s always been the key to her look. I spend a fortune on the shoes, because that’s the first thing women look at. If your shoes are kak you’ve lost them. And women also notice the nails, and the jewellery. But now less is more ... I have learnt from Sophia Loren, who at 81 is looking unbelievable, with such class and a wonderful sense of style ...


“I think Sophia Loren saved my life when I was a little boy. I had a picture of Hendrik Verwoerd on the wall because he was a ‘gift from God’ (according to my church and school). Then I found a picture of this beautiful girl in Stage and Cinema magazine and I cut it out and stuck it up on the wall and within two days Hendrik Verwoerd fell off because her legs were better than his. I was 11 and she was 22,” says Uys.


The Echo of a Noise, on the other hand, is 70-75 minutes long — “a Game of Thrones attention span, except there’s no violence and there are no dragons”.


“It’s interesting being on a stage without Evita, but it’s okay,” says Uys. “I feel like a 12-year-old, [I’m so excited] to be able to share all these marvellous moments with an audience ... and stories ... because actually that’s what it’s all about.”


The Echo of a Noise (PG14) runs at the Theatre on the Bay in Cape Town from May 31 to June 18, Tuesday to Saturday at 8pm. Tickets cost from R100 to R160 via Computicket on 0861 915 8000 or the box office on (021) 438-3301




Pieter-Dirk Uys Back on Stage in THE ECHO OF A NOISE at Theatre On The Bay

Broadway World, 25 April 2016


Having performed alone on the stages of the world for well over seven thousand times, Pieter-Dirk Uys has learnt that every show is the first and the last performance – because each audience demands and gets a different energy, topicality and excitement. This year, Uys will be back on stage at Theatre on the Bay in his autobiographical one-man memoir, THE ECHO OF A NOISE.


Now in his seventieth year, Uys glances back not at the successes and failures that have strengthened a belief that his work could constantly be improved, but rather at those small signposts throughout his life that have subconsciously pointed him in the right, original direction: his parents, his grandmothers, his teachers and his passions – Sophia Loren, censorship, false eyelashes, and making a noise when everyone demanded silence.


THE ECHO OF A NOISE strips away the trappings of Evita Bezuidenhout and Bambi Kellerman to reveal Uys at his most candid. Uys reminisces about his childhood, on times when he sang accompanied on the piano by his father, Hannes Uys, who he would come to know as the harshest critic of his work. He reflects on his parents' deaths, on the influence of his Afrikaans and German grandmothers and on his relationship with his "Cape Flats mother", their housekeeper, Sannie. He recalls his own experience of the horrors of apartheid, having broken the law when he contravened the Immorality Act with a coloured gardener, with whom he shared the purest terror of being caught by the police. The show becomes an archive of South African theatre history too, with Uys remembering his first stage appearances and his ongoing clashes with the all-powerful censor board of that era.


THE ECHO OF A NOISE will run at Theatre on the Bay from 31 May - 18 June, on Tuesdays through Saturdays at 20:00. Tickets cost R100 - R160 and can be reserved via Computicket online or by phone on 0861 915 8000 or 021 438 3301.




The Echo of a Noise: Voorste satirikus praat oor sy lewe

– Laetitia Pople, Die Burger, 9 Julie 2015


Die gordyn lig in die grootste teater op die Grahamstad-fees. Suid-Afrika se voorste satirikus sit amper verdwerg op ’n kroegstoeltjie op die reuseverhoog.


Met ’n swart mus, sy Almost Famous-oortrektrui en glimlag lyk hy soos ’n ondeunde dwerg wat deur die kollig betrap is. Binne oomblikke vul hy egter die hele ouditorium met sy teenwoordigheid. Dit is net Uys aan die woord en hy maak sy hart oop oor sy private en openbare lewe.


Die groot hare en baie bek van Evita Bezuidenhout of die rokerige draalstem van die wulpse Bambi Kellerman is gebêre vir ’n ander keer.


Dit word gou duidelik dat die titel van sy biografiese eenmanvertoning, The Echo of a Noise, nie reg laat geskied aan wat hy hier bied nie. Hy lei jou in sy binnekamer rond, neem jou die geskiedenis in en wys waar die persoonlike en die openbare bymekaar aansluit.


Vryheid van spraak is vanjaar die feesmotto en satire is hier sentraal in vertonings geplaas. Uys se alter ego Evita Bezuidenhout pryk voor op die feesprogram. Uys was en is soos ’n stem in die woestyn vandat hy vir die eerste keer in die 1960’s vreesloos op ’n verhoog verskyn het. Hy skerts die destydse sensuurraad was sy eie persoonlike skakelbeampte. Hulle het sy werk so flink verban, hulle het selfs ’n woord verbied wat Uys self uitgedink het: Genots­krots.


​Ons hoor ’n opname van Pietertjie wat soos ’n engeltjie gesing het, wat sy pa, Hannes Uys, vergesel as hy Sondae oral­oor in kerke gaan orrel speel het. Die pa vir wie hy lief was, maar van wie hy nie gehou het nie. Die grootste kritikus van sy werk, maar ook die een wat kon raad gee. Hy vertel hoe hy in sy laaste oomblikke by hom was en hoe hy dan teruggegaan het huis toe waar Sannie vra of die “master’’ dan nie wasgoed het nie.


Die gehoor verstil weer by sy rou vertelling van die selfmoord van sy Duitse ma, Helga, en die durende, uiteenlopende invloede van sy Afrikaanse en Duitse oumas op sy lewe.


Sy eerste ware kennismaking met die gedrog apartheid was in sy vroeë twintigs toe hy in ’n tuinier se kamer die Ontugwet oortree het. Hy vertel van die jong man se naakte vrees dat die polisie hom by ’n wit man sou betrap. Hoe hy eintlik verjaag is. Erger nog, hulle was besig om ’n “sonde in God se oë” te pleeg. Dit is asof Uys deurentyd die gehoor in sy vertroue neem en só alle grense verbreek.


Hy bly ’n meesterstorieverteller, wat net so vinnig met homself spot soos met al die ander wat onder sy tong deurloop.


Die stampvol ouditorium laat hoor ’n “Bravo, Pieter!” en staan soos een man op. Hierdie was waarskynlik die 7 000ste solovertoning wat hy gelewer het, maar dit het gevoel soos sy eerste . . . ’n Kunstenaar wat steeds ’n verkeersknoop buite ’n teater kan veroorsaak.



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