Uys's play and production represents a notable triumph of common humanity over lacerating
experience. He knows the political crimes that have made these people what they are.
He knows the landscape of exile, where identities are propped up by reliving the
past to the extent of play-acting. His theatrical achievement is to bring these rancorously
self-encapsulated victims out into the fresh air, and to place their obsessive melodramas
in the wider context of comedy.
– Irving Wardle, London Times, October 1989
The white South African Pieter-Dirk Uys is best known in this country for his one
man show Adapt or Dye, in which he lays into the injustices of apartheid by impersonating
some of his country's more grotesque inhabitants, many of them female. His new play
Just like Home is gentler, subtler and more moving. It is still fired by Uys's indignation,
but it puts people before politics. He directs his own humane but profoundly pessimistic
play with passion.
– Charles Spencer, The Daily Telegraph, 23 October 1989
Home, we are told, is where the heart is. But if the heart is divided or in cold
storage, where is home then? Pieter-Dirk Uys' funny and touching play looks at this
predicament as it affects London's expatriate South Africans, both coloured and white.
The play is continuously sharp-eyed about the not-so-little ironies of expatriate
– Paul Taylor, The Independent, 24 October 1989
... a depth and perception to the play which makes it the best thing Uys has ever
– Matthew Lewin, Ham and High, 27 October 1989
Layers of illusion and delusion are gently peeled away with affectionate irony. Equally,
there are scathing remarks about liberal South African expatriates.
– Martin Hoyle, Financial Times, 23 October 1989
This could be the best play Pieter-Dirk Uys has written to date. It is more consistent
than most, rivalling in structure and development his masterly Paradise is closing
down and it has as its central character the best part Uys has written for a woman
since the irrepressible Ester Viljoen in Selle ou Storie. It is a very clever piece
of work, superbly realised. It is conceived in anger, in compassion and in love.
It is filled with larger-than-life people, seemingly improbable situations, but even
at its most extravagant, it never loses its credibility. It is all too human for
that. When the tension is at its most unbearable, the agony is relieved by laughter.
– Raeford Daniel, The Citizen, 9 March 1989
Just like Home is a bit of everything — there's nostalgia, humour, satire, irony.
– Merle Huntley, Pretoria News, 10 March 1989
... an honest study of exile (both voluntary and involuntary) and homesickness, new
lives and old struggles. The play is warmly convincing in the intimacy of its human
– Meira Cook, Saturday Star, 19 May 1990
This is no ordinary piece of political theatre. Through the personal anguish of those
outcast by the system we gain a more intimate insight into the evils of the system
itself. By using comedy cheek-by-jowl with depictions of brutality, Uys challenges
the audiences preconceptions, whatever their political persuasion ... the play confronts
us with the uncomfortable truth of institutional racism on our own doorstep.
– Paul Smart, Scotland on Sunday, 27 August 1989
Just like Home is an astutely observed and superbly realised comic-drama with sparkling
bitter-sweet dialogue and a story to touch the very core of your being. At the same
time it is a searing indictment of the psychological damage apartheid causes everyone
who is forced to live with it.
– Marianne Thamm, Cape Times, 22 July 1989
Uys always succeeds in making you look at old things in a new way. And that only
an artist with vision can do.