Set on an estate, ironically named World's End, the plot has it that the government
will expropriate the property which has been in the same family since the time of
the early English settlers' arrival in the province (of Natal). As a scenario prophesying
decadent disintegration at a family level, brought about by enforced reform, as well
as corruption, the play has frightening implications.
– Garalt MacLiam, The Star, 3 April 1989
Neither Tennessee Williams nor Arthur Miller could devise a more fecund and dramatically
exploitable family situation and the device of using a TV crew who arrives to film
the last days of this vanishing era is crisp and ingenious.
– Barry Ronge, Sunday Times, 9 April 1989
Scorched Earth goes some way to confronting in the medium of a realistic play about
a Natal WASP family who once supported the Nationalists and now find their birthright
being given to a bantustan. The play represents a major transition in Uys towards
maturity as a playwright. The range of styles in the dialogue and the adult complexity
of the situation are utterly absorbing.
– Robert Greig, Business Day, 5 April 1989
Pieter-Dirk Uys has a dependable knack for immediacy. Scorched Earth is the latest
in a long line of plays and revues that reflect this darting, magpie talent ... humour
is the weapon he wields most skilfully ... one of our most prolific playwrights.
– Charlotte Bauer, Weekly Mail, 7 April 1989
Pieter-Dirk Uys's latest is a major opus concerning dispossession, displacement and
corruption in high places. There is some remarkably fine writing.