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NO SPACE

ON

LONG STREET

 

NO SPACE ON LONG STREET (1997/Bilingual)

No Space on Long Street is strictly protected by copyright.

Applications for performance rights, both professional and amateur, should be addressed to:

PD Uys Productions

PO Box 175

Darling 7345

But please read the play with pleasure.

 

Download the text of No Space on Long Street

 

 

Twenty-five years ago the Space Theatre opened its doors in Cape Town... it became the pulsating soul of drama, dance, comedy, puppetry, art, experimentation and madness. No Space on Long Street is a celebration of this energy. But it is also a salute to Long Street ... Pieter-Dirk Uys lived there during his working years at the Space Theatre and got to know the people who lived round the block ... In this one-man show, Uys presents a variety of characters ... all of them the leading actor in their own play.

– Temple Hauptfleisch,  SA Theatre Journal

 

Hilariously funny and brilliantly observed and acted — in fact, pure vintage Uys. Unforgetable, endearing, subversive! Pieter-Dirk Uys knows where he is going.

– Fiona Chisholm,  Cape Times, 18 March 1997

 

A superb performance like this underlines Uys's position as a unique contributor to the South African theatre....his look back takes place in an original, entertaining way ... before your eyes he becomes a vagrant, an old woman, an Italian cafe owner, a Jewish property developer and a member of John Vorster's censorboard.

– (translated from) Gabriel Bothma, Die Burger, 18 March 1997

 

Uys has come up with a clever device for recalling the triumphs and sorrows of that time and place ... the tale is told from outside the premises, by a colourful band of observers and patrons, all played by the author. There is wit and cunning aplenty .. it is worth seeing.

– Len Ashton,  Cape Argus, 18 March 1997

 

... contains some of the finest writing — and performance art — I have ever encountered from the man ... this work is a series of characters whose lives were touched by the phenomenon that, perhaps more than any other, opened the doors to integration in theatre and played a major role in bringing about emancipation in South Africa.

– Raeford Daniel,  The Citizen, 6 May 1997

 

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