Pieter-Dirk Uys's play is a kind of prophecy, viable in that it is a logical extension
of the status quo. It has the unmistakable stamp of truth. Its implications may be
self-evident, but we ignore them at our peril. God's Forgotten is a powerful and
compelling work. It is sometime in the future, the aftermath of an African Armageddon.
The exponents of the creed that White is Right are in a state of siege. They are
not necessarily evil people and it is not easy to hate them. They believe as implicitly
in God as they do in their great mistake. But the political platitudes prevail. Nothing,
they tell themselves, has changed. Everything is under control.
– Raeford Daniel, Rand Daily Mail, 12 August 1976
... a sobering experience. See it — even if you don't want to believe it.
– Natalie Knight, SA Financial Gazette, 20 August 1976
God's Forgotten is at the same time a strange and ordinary play — clichéd, original,
obvious, fanciful, futuristic and of today. Strangely perhaps the play does not seem
all that chilling — it has a believable realism — God forbid.
– Garth Verdal, Weekend Argus, 31 May 1975
It is a thought-provoking, highly disturbing work, exceptionally well performed with
the emphasis on topicality.
– Carl Williams, EP Herald, 7 July 1976
Those who are the butt of a satire seldom identify with its victims, but Pieter-Dirk
Uys has left us with no escape. Sugaring a very bitter pill with homely, colloquial
humour, he forces us to accept a futuristic portrait of ourselves that is totally
horrific. He has given us theatre at its most socially relevant. He hasn't provided
answers — merely a very disturbing mirror.
– Elaine Durbach, The Argus, 28 May 1975
The play (on at La Mama in Greenwich Village) must be extended and it must be published
in America. Its human and political insights extend far beyond its very important
– Robert Patrick, NY Other Stages, 17 May 1978
God's Forgotten is poignant, witty, intelligent and never hysterical: it is also
extremely good entertainment, something we seldom get in the theatre today.
– Peter Reynolds, Cape Times, 26 May 1975
God may have forgotten, but Pieter-Dirk Uys's play, written in the mid-1970s, is
a grim reminder of just how much we are forgetting too — how much is conveniently
sliding into the shadows of political history, ugly and unresolved. God's Forgotten
is then — incidentally — an eloquent argument for the necessity of a Truth Commission.
It is a play written in the past about a future, performed now.
– Peter Frost, Cape Times, 8 August 1995
The play's overriding atmosphere of fear and ever-threatening danger make it a powerful
study of a nation disintegrating under desperate despotic rule. A harsh view of what
might have been.
– Joanna Sterkowicz, Business Day, 21 September 1995
God's Forgotten is a frightening reminder of the forces of self-destruction that
could be evoked by the myopia of power politics. Riveting theatre.